Russian Formalists' Aesthetic Criteria - Rohana Seneviratne

8/14/2019 Russian Formalists' Aesthetic Criteria - Rohana Seneviratne

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reishdkq wdlD;sljdoh bosm;a lrkreishdkq wdlD;sljdoh bosm;a lrkreishdkq wdlD;sljdoh bosm;a lrkreishdkq wdlD;sljdoh bosm;a lrkfi!kaohd>k ksKdhlfi!kaohd>k ksKdhlfi!kaohd>k ksKdhlfi!kaohd>k ksKdhl

frdayK fifkr;akfrdayK fifkr;akfrdayK fifkr;akfrdayK fifkr;akiNdjH NdId wOHhkdxYh

fmardfoKsh YajoHd,h

fi!kaoh hk ufkdauQ,sl ixl,amfha iNjh" rej.=K" wldrh wd O me;slvms


2/18

2

fkd mej;s ;r jQ kuq wdlD;sljdka iska is lrk ,oafoa tf;la mej;s idys;H wOHhkfhys ,dndOdld fodr.= |Su fkd f | ykakg fodr.= fkdmej;s w;r indO n,fldgqj fjkqjgkjH jQ" iq.u jQ jD; udj;la ;kd .ekSu hs'4

wdlD;sljdoh idys;Hh fj; t,a, l< n,mEf iajNdjh wOHhkh lrkq msi;a tiskawdlD;sljd fi!kaoh ksKdhl bm;a jq wdldrh uYkh lrkq msi;a reishdkqwdlD;sljdofha jHdma;sh ms


3/18

3

u.skam%;sIaGdms; j mej;s u;h jQ kuq" m%m[apoHd;aul (phenomenological) kHdhhkaf.ka |Swd reishdkq wdlD;sljd ;lfhda idys;Hfha m%lrKd;aul idOlj, jeo.;alu wju fldgie,lSu u.ska {dkuQ,sl wx.hka tajdfhawla,sIag" i;H iajrEmhkaf.kau ;eug h;ak oerE y'8

reishdkq wdlD;sljdkaf.a jHdmdrh mYapd;ald,Sk j fl;r W.% pdrhg iy frdaOhgnka o h;a wdlD;sljdoh y|qkajdu ;uka w;ska is jQ jrola jYfhka ms


4/18

4

;%l,df iy iskudf m%jK;d ykd .; yels jk kuq wiqj,a wiqj,a m he hs yqjd oelahyels" ish fi!kaoh wdlD;sj,g fmdfmdfmdfmd jQ fYaI ksKdhl fyda kHdh mekS h;e hs lshf;d;a ijro

fjhs' Khlebnikov, Mayakovsky jeks wkd.;jd lkaf.a iy Sergy Eisenstein niskudlrejkaf.alD;s mslaiSfuka muKla jqj o f ne Yo fjhs' tfy;a ;;ald,Sk j mekke.=Kq c.;afi!kaoh jHdmdrhka w;r mQj.dhl= jYfhkareishdkq wdlD;sljdoh ie,lsh hq;=h' l,df wdlD;sl mlaIhwdlD;sl mlaIhwdlD;sl mlaIhwdlD;sl mlaIh ms


5/18

5

hq;a;la f,i hs'14 tn jQ l,dj ;=


6/18

6

2' jlaId lD;HhjlaId lD;HhjlaId lD;HhjlaId lD;Hh (conative function)l;hd (addressee) fj; fhduq jk NdId lD;Hhla jk g wd,mkh (vocative) ksoYk

hs' ^Bhlerfuu lD;Hh i|yd wNsOdkuh lD;Hh (appelative function) hk fhu Nd; lrhs'&3' ix,laIHS lD;Hhix,laIHS lD;Hhix,laIHS lD;Hhix,laIHS lD;Hh (referential function)

m%lrKh fj; mdGlhd fhduq flfrkafka Wmhqla; NdIdf fuu lD;Hh isks'

ikaksfokh jkdys ieug u m%lrKd;aul lsisjla iy inef|k nj kaiQpkh fjhs' ^Bhler

fuh ksfhdacklD;Hh (representative function) hkqfjka k fldg olajhs'&3' mmmm;SlrK lD;Hh;SlrK lD;Hh;SlrK lD;Hh;SlrK lD;Hh (phatic function)

NdIlhka fofofkl= w;r inkaOh we;s lr ikaksfok ud. jD; lrk NdIdlD;Hh hs' we;e g NdIlhka inkaO lsu muKla bgq lrhs'

4' mdrjd.affjIhsl lD;Hhmdrjd.affjIhsl lD;Hhmdrjd.affjIhsl lD;Hhmdrjd.affjIhsl lD;Hh (metalinguistic function)NdIdj ms


7/18

7

ldjH lD;Hhl m%;HlaI jd.affjIhsl ksKdhlh fkdfyd;a ldjH lD;shl wjYHfhka

u mej;sh hq;= .=K,laIKh l=ula o @ jrKh (selection)iy ixfhdackh(combination) hkqfjkajdl prKhl (verbal behavior) mNd; m%Odk m%;smdok l%ufo (modes of arrangement)oajhhla we;' child hkak ksfokfhaf;audj jkafkak l:lhd child, kid, youngster, tot jeksiudkd:j;amo w;kachild hkak o sleeps, dozes, nods, naps n l%shdmo w;ka iqiaila of;dard .kS' wk;=re j iqiq m tlS mo inkaO lrkq ,ef' jrKh jkdys iu;dj iy wiu;dj(similarity and dissimilarity)" iudkmNdjh iy reoaOmNdjh (synonymity and antonymity)u; o ixfhdackh jkdys idmHh fyj;a ;dgia:Hh u; o r|hs' ldjH lD;Hh iudk;djiudk;djiudk;djiudk;djk .=K,laIKh jrKfha wlaIh flfrka ixfhdackfha wlaIh fj; fhduq lrhs' fyj;aiudk;dj m%ldYkfha ixia:dmk Ys,afmdaml%u olajd .=K flfrhs' oauh wd Ydl ,laIKhkaf.aiy h;sh wd Pdkaoisl ,laIKhkaf.a iudk;dj mqkmqkdhkfhka fhfohs' 20 NdIdf ldjH

lD;Hh iy wfkl=;a lD;Hhka w;r inkaOh olajkaJakobson myokafkaldjHfha fkdfyd;aidys;Hfha ldjH lD;Hh NdIdf wfkl=;a lD;Hhka wNsNjkh lrk nj;a" wfkl=;a lD;Hhkays tlS lD;Hhka iska ldjH lD;Hh wNsNjkh flfrk nj;a h' fuu.ska W; mohkaf.ajrKhiy ixfhdackh u ldjHuhNdjhg fya;= jk nj wjOdrKh lrk ,' jpkhkaf.ajrKh iy

ixfhdackh ms


8/18

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ldjH lD;Hfha wldrh mskh flfrk nj;a olajhs'27

22...Epic poetry, focused on the third person, strongly involves the of language; the

lyric, oriented toward the first person, is intimately linked with the emotive function;

poetry of the second person is imbued with the conative function and is either

supplicatory or exhortative, depending on whether the first person is subordinated to

the second one or the second to the first...

Jakobson Linguistic and Poetics p. 24 f.23

..finally Sanskrit scientific treatises in verse which in Indic tradition are strictly

distinguished from true poetry (kavya), all these metrical texts make use of poeticfunction without, however, assigning to this function the coercing, determining role

it carries in poetry...

Ibid. - loc.cit.24

l,d lD;shl jHqyh Nd. lrk l, tys uQ,sl rEmdldr ;%hlaolakg ,efn;e hskQ;k fi!kaohfyq o olaj;s. tk,

1. OFjfha talShFjh (Unity in Variety)2. m%uqL;dj (Dominance)

3. iu;=,s;;dj (Equilibrium) jYfhks'f w;ka m


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9

ldjHd;aul NdIdj iy idudkH jHjyD; NdIdj w;r fjki meye,s lrkq msi

Jakobson iy wfkl=;a wdlD;sljdkaNd; lrk fh iy jrK lsysmhls' ldjHdlD;sh jkdysNdIdf ix; n,d;alD;Hhle (organized coercion of language) hsJakobson olajk neEichenbaum f.a lD;shl yuqfjhs' 28 weiafgdag,shdkq woyilg iudk jYfhka ie,lsh yels

u;hla wdlD;sljdka fj;ska bm;a u o fYaI;ajhls' tk ldjH NdIdj wm; (strange)yd Yauhckl NdId fYaIhlaf,i fmkS ish hq;= h hkak hs'29 Ydl iy oauhdkql=, jYfhka

ldjH NdIdj .NSr iy L Ndjhg m;a l< hq;= he hsLeo Jakubinskyf.awoyi jQ w;r idudkHNdIdfjka ldjH NdIdj neyer h hq;= nj bka wNsjHla; h'

reishdkq wdlD;sljdoh ldjHh yd idys;H inkaOfhka f.k yer mE" ie,lsh hq;=jeo.;alula iys; ixl,amhla jYfhka ;a;rEm Wmfhdackh;a;rEm Wmfhdackh;a;rEm Wmfhdackh;a;rEm Wmfhdackh uiSu j' l,dj hkq ;a;rEm

jYfhka flfrk ka;kh (Art is thinking in images) hs o m%lg h' reishdkq ixfla;jdhl= jQPotebnya, 1905 ;a;rEmhkaf.a jeo.;alu ms


10/18

10

nj m%lg lf Literariness) o reishdkq wdlD;sljdka iska fmrgqlrk ,o" idys;Hh yd inkaO jeo.;a ixl,amhla f,i ye|skah yels h' idys;Huh;dj wdma;

idys;H lD;shl ;:Hyakhla (hallmark) jYfhka wdlD;sljdoh iska k flfrk fyhskalsish lD;shl idys;Hd;aul .=K,laIK ykd.kq msi fuh ukd ksKdhlhla jYfhka oie,lSu iqiq h' idys;Hfhka idys;Huh fkd jk oE fjka fldg .kq msi wdlD;sljdoh iskaiNd; ksKdhlh idys;Huh;dj hs'

idys;HdOHhkfhys Ih jkafka idys;Hh (literature) fkd j idys;Huh;dj njwdlD;sljdoh i;;ska wjOdrKh lrkakls' lsish lD;shla idys;Huh jkafka tys idys;Huh;dj

/|S iskafka k mu' fuf;la l,la idys;H b;sydi{hka is lr we;af;a ljrla o hkakWmydid;aul j .%y lr olajk Jakobson Tjqka flfrka idys;Hfhys idys;Huh;dj wOHhkhneyer jQ wdldrh jrKh lrhs' Eichenbaum f mskh lrkq msi ksKdhlhla jYfhkaidys;Huh;dj ie,lsh hq;af;a f ksid he hs wdlD;sljdyq meye,s lr;s' MikhailBakhtin f.au;jdo reishdkq wdlD;sljdofha we;e wx. fpkh lrk w;r" fYaIfhka u ldjHuh NdIdj

inkaO Tyqf.a woyia idys;Huh;dj hkq lsue hs jgyd .kq msi Wmldr Ke hs ie,fla' BakhtinldjH NdIdj NdIdf Wmm%fNaohla(dialect) f,i i,lkq ,eug reoaO h' th ffoksl jHjyD;NdIdfjkafjkiajkafkaldjH kshduh (poetic assignement) lrK fldg f.k he hs fyf;u lS

31Source: http://www.unisa.ac.za/default.asp?Cmd=ViewContent&ContentID=7380


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11

h'32 idys;Huh;dj jkdys ldjHuh NdIdf wldrh iy;sl lrkakle hs bka wjOdrKh fl'wdlD;sljd woyiaj,g wkqj" ;a;rEmhkg fyda ix{dj,g jvd idys;Huh;djidys;Huh;djidys;Huh;djidys;Huh;dj u lsish lD;shlaidys;Huhidys;Huhidys;Huhidys;Huh hk wNsOdkh ,eug iqiq njg m;a lrhs' hq.fhkahq.hg" rplhdf.ka rplhdgyqjudre jk fmd jia;+ka f,i ;a;rEm ie,lsh yels kuq idys;HdOHhkfha wdma; Ihh jkidys;Huh;dj jkdys ix{d iy ix{s; w;r kj in|;djkaf.kaWfma; jkaklanj olajk

Shklovsky" idys;Huh;dj wmrEmSlrK l%shdj,sfha lD;Hhla f,i o ykajd fohs' reishdkq

wdlD;sljdoh iska ykajd fok ,o idys;H ksKdhlhka w;r iqfYaI ia:dkhlaidys;Huh;djg ys jkafkaf wkqj nj pdrlfhda olaj;s'33

wmrwmrwmrwmrEmSlrKhEmSlrKhEmSlrKhEmSlrKh jQ l,s reishdkq wdlD;sljdka iska idys;Hh jHjfokfha ykd .kq ,en idys;Hh msKsi wdjYHl mshjrla jYfhka fkdfyd;a fmdf fi!kaoh

ksKdhlhla jYfhka bm;a lrk ,oaols' OSTRANENIE (=defamiliarization) hkqfjkawdlD;sljdofha kdulrKh flfrk fuu ixl,amh idys;Huh;dj jrKh fldg olajkq msi

iNd; m%Odk ksKdhlhlao fjhs' 1917 Art as Technique k iajlSh lD;sfhkawmrEmSlrKixl,amh ykajd kaShklovsky, uQ,sl jYfhka u bkawm;SlrKh (estranging) fyda wjfndaOhiaj,am ld,hla olajd mud lsu (prolonging perception) iy tu.ska yqremqre Ihhka fyj;aix{djka flfrys" wjia:d flfrys fuka u ldjHdlD;sh flfrys mdGlhdf.a iajhxisoaO

inkaOhg ndOd meKu n wre;la woyia l< ne fmfka'34

ienE l,dj O Ihhka wm; (unfamiliar) fyj;a kqyqre-kqmqre njg m;a lsu islrhs' wdma; l,dlD;Syq tu.ska Ihhkays mj;akd l,d;aul;dj wkqN+;Skanjg m;a lr .kq msi"fkdfyd;a jpk iy woyia ms


12/18

12

l,df Wml%uh jkafka jia;+ka kqyqre lsu hs fkdfyd;a wdlD;Ska lDPdjfnda lsuhs ixcdkk l%shdj,sh u fi!kaohd;aul ksIaGdjlajk fyhska ixcdkk ld,mrdih > lsu iylDPdjfndaNdjh .=K lsu hs' tfia u l,dj jkdys jia;=jl l,d;aulNdjh | .kakd wdldrh

hs l%uh hs' tys jia;=j jeo.;a jkafka ke;' fyj;a jia;=j hkq l,df yq Wmpdrhla(pretext)mu' wmrEmSlrK m%fhda.fhdajkdys l,d;aulNdjh .=K lrk m%fhda.fhda h' m; jia;= fydaIh k fkd lr isu ksoYk hs' fkdfyd;a m


13/18

13

idys;H lD;shl mj;akd idys;Huh uQ,dx.hla fmrgq fldg ;nk w;r u wjYHfhkau fjk;aidys;Huh uQ,sldx. tlla fyda lsysmhla iajdk lsu iy.d fldg mj;skakla jYfhka woyiaflfrhs' mQjialrKh yels ;r uekka fhdokq ,eu u ldjHuh NdIdf lD;Hh fjhs'38

mQjialrK ixl,amh ykd .ekSu fya;= fldg f.k mYauialrKh (backgrounding) k jQwmr ixl,amhlao wdlD;sljdka fj;ska bm;a h' idys;H lD;shl we;e idys;Huh uQ,sldx.fmrgq fkd lsu fyj;a miq;,fhys ;eu bka woyia lrk ,o nj m%lg hs' wdlD;sljdyq

ksoYkhla f,i ryiamlaIl kjl:d i|yka lr;s' tn ksudKhkays l;=jrhdf.a fl!Y,Hhimqrd fy


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tfyhska ijro fkd f' i;aidys;HlD;shla hkq tys Wmhqla; il,O ffY,Sh Ys,afmdaml%uhkaf.a

talsNjkh hs (A work of literature is the sum-total of all the stylistic devices employed in it.)hkqfjka oela jQ Rozanov Shklovskiifuka u idys;H lD;shl iujdh hkq w;sYhska iu;sl jQiuia;h tal;ajh fkd j .;sl wkql,kh hs idys;H lD;shl wdlD;sh .;sl jQjla jYfhka

jrKh l< hq;= h (The unity of a literary work is not that of a close symmetrical whole, but of a dynamic integration.... The form of the literary work must be described as dynamic.) hs oela

jQ Tynianov o fuu ixl,amfha Wmfhdackh meye,s l< wdlD;sljdyq jQy' fYaIfhka uTynianov .;sl wkql,kh fj; n,mE t,a, lrk uQ,sl idOl folla olajhs' iajdk;dj(autonomy) iy iudffc;sydisl l%shdj,sh (socio-historical process) jYfhks' l,d;aul lD;shlaiajdk wia;ss;ajhlskayd iajhxmd,s;Ndjhlskahq;= u o" iudc ft;sydisl ;;= m%lg lsu o .;slwkql,kfha iaMrKhka we;s lrkq iu;a idOl f,i Tyq olajhs' idys;H uQ,sldx. wfkHdkHiyinkaO;dj mj;ajd .ekSf wjYH;dj o" iuia;hla jYfhka kd l,d lD;sh m%f;Hl jwOHhkh lsf ifodaI;dj o tu.ska m%;S; hs'

reishdkq wdlD;sljdoh idys;H pdrh iy ksYaph fj; o fmdf fi!kaohfoh fj;

o oela jQ odhl;ajh uiSf l,d;aul m%fhda. (priyom>devices) o ie,lsh hq;= jeo.;alulskahq;= N+ldjla ys lr .kS' idys;Hh iu. u;= fkd j wfkl=;a fi!kaoh wdlD;s iu. o

ksudKlrejd iska is flfrk ixjdohkays Tyq Nd; lrk Ys,afmdaml%u fuu.skawoyia

lrk ,' NdIdj iajlSh ksudKd;aul woyia wNsjykh lrk udOHh jYfhka idys;Hlrejd iskaiNd; w;r iskudlrejd rEm iy Yo o" ;%Ys,amshd jK" fLd iy yev;, ofhdod .kshs' ;ukaNd; lrk m%fhda. bishq f,i wOHhkh lsfuka ,o mphla o tai|ydjvkd ,o m%;sNdj o we;s ksudKlrejd fj;ska ys jk ixksudK" wmrEmSlrKh iymQjialrKh iska .=K lrk ,o wmQj;ajhlskaWfma; fjhs' fyj;a m%.=K lrk ,o l,d;aul

m%fhda. wmrEmSlrKh i|yd mQjdjYH;djla(prerequisite) jkafka h hs wdlD;sljdyq meye,slr;s' fuu m%fhda.hkaf.ka iuyrla mQjialrKh flfrhs fkdfyd;a wmrEmSlrKh flfrhs'tu.ska wfkl=;a wm%Odk m%fhda. m; fyj;a mYauialrKh jkq ,efnk fyhska l,d;aulixcdkkh kjH njg m;a fjhs'41 m%fhda.fhdajkdys yqfolatl,d j wmrEmSlrKh bgq l< fkdyelaflda h' tneka Tjqyq lD;sh ;=< l%shd;aul u u.ska ta bgq lr ,;s' mqkN+; ;a;rEm

(recurrent images) hk m%fhda.h reishdkq f,aLlhkaf.a ksudKhkays mNd; wdldrh

Shklovsky g ksoYk fia olajhs' 42 wdlD;sljdoh ms


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jhs' idys;H lD;shl wka;.;h jeo.;a h hk nyqm%;s.Dys;h iy tl fkd jk wdlD;sljdyq

wdlD;sh (form) wl;r m%dOdkHhla Wiq,k ne olaj;s' Shklovsky wdlD;sh jvd jeo.;a jYfhkaykd .kakjqka ienE fi!kao{hka f,i;awka;.;h w.fka h hs i,lkakka yqckhka f,i;aj. lrkafka f ksid nj meye,s h'44 ix.S;h" ;% ksudK iy idys;Hh hk ksudK m%j.wdY%fhkawdlD;sh jvd;a jeo.;a jkafka flfiaoe hs Tyq jrKh lr olajhs' f wkqj lsishfi!kaohd;aul lD;shl wdlD;sl ,laIK we.hsK' idys;H ksudKhl mefkk wdnHdkh tys

iqfYaIS wdlD;sl ,laIKhla jk fyhska tys Wmfhdackh ms story) jkdys wdLHdkhla njg m;a ug ilia flfrk idys;HwuqjHhkg reishdkq wdlD;sljdka iska fhdok ,o wNsOdkh hs' th ld,dkql%l isoakaf.aixys;djls' l:d cfha isoa mefkkafka wdLHdkfhaisoa mekS hd hq;= wdldrhg u fkd j is jQms plot) jQ l,s yq ld,dkql%l isoaoduhlajkl:dch fuka fkdj imQKfhka u idys;Huh" l,d;aul ixia:dmkhls' mud ls" w;=re l:dfh" ld,dkql%uh | oe wdh u.ska l:d kHdih l:d ch ixOdkh lrhs' ieneka u l:d

kHdifha ldhh l:d cfhawdLHdkrEmh wmrEmSlrKh hs' l:dfjka l:d kHdih fjka fldg

ykd .kq msi ksudKlrejd m%;sNdka; h hq;= h' l:df isoa ld,dkql%uh iy fya;=M,inkaOh u.ska ine|S we; o l:d kHdih ilia lrkq jia l;=jrhd tu isoakaf.a hf:dala;iajNdjhka fj; u fkd /|S tajd W; m m%;sixOdkh l< hq;= h' m%;sksfYkh lrk ,o w;=rel:d" l;=jrhdf.a w:l:k fydajrK wd jYfhka wdLHdkfha .,kh ika ls mjd mej;sh

yels h'fiksoYk fldg olajkq jiaShklovsky olajk wdma; ksoYkh k Lawrence Sternef.aTristram Shandy k kjl:dj hs'45 Tyq meye,s lrk wkaoug mqkrela;sh iy iudkNdjhiys; jD;a;dka;hkays oelsh yels fidamdk ixia;sh (staircase structure)"jHdc ksIaGdjla iys;"ixjdNdjh jHdma; j mj;akd idys;H lD;Skays yuq jk wxl=Yd

hudk ixia;sh (hook-like structure) iy oa;aj l:d kHdihka fhu (double-plotting)Ol:d kHdi fYaI i|yd ukd ksoiqka f' l:d kHdih tlaflda i;HdNdifha wjYH;d ksidim%dKS f' ke;fyd;a mdGl wfmalaId iqka lrka fy


16/18

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mr;rh idfmalaI jYfhka l=vd fyda .%yKh lr .kq Ialr jk fyda" W;a;umqreI wdLHdk iajrhka

iys; fyda lD;SkaSkaz hgf;a olajkq fkd ,ef'Daniel Defoe f.aRobinson Crusoe kjl:djtnkaolg ksoYkhla f,i wdlD;sljdyq olaj;s'

reishdkq wdlD;sljdoh iska fi!kaohfoh fj; olajkq ,en we;s odhl;ajfha m%udKhiy iajNdjh wOHhkh lrkq msi fumoafoka fkdfhl=;a mslaiq l< yels nj Yo hs' tu.skamYapdoama,h reishdf W;amkak ;okka;r pdrjdo iy kHdhsl wdia:dkdhg ,enqKq fmdaIKh

o wys;lr n,mE o tfuka u kjH pdrdf,dapkd wdf,dalj;a lrkq msi ,enqKq wdNdih ouish yels fjhs' flfiaj;= reishdkq wdlD;sljdoh fkd u| jQ m%;sfrdaOd;aul pdrhkg o ;=vq

ka idys;H jHdmdrhla jQ nj o fkd u;l lsu fkd uek' Mikhail Bakhtin udlaiajd kHdhNd; jk wkaou mskh (reevaluation of the literary work)51

46 Bakhtin - The Formal Method in Literary Scholarship p. 91

fuu lD;sh Pavel Medvedyev iska r; he hs we;efula i,l;s'47

...Thus, an object is not made strange for its own sake, in order that it be felt, in

order to make a stone stony, but for the sake of something else, a moral value,

which against this background stands out all the more sharply and vividly precisely

as a moral value... Ibid. p. 6048

...Language acquires poetic characteristics only in the concrete poetic construction.

These characteristics do not belong to language in its linguistic capacity, but to the

construction, whatever its form may be. The most elementary everyday utterance or

apt expression may be perceived artistically in certain circumstances. Even an

individual word may be perceived as a poetic utterance... Ibid. p.8449

Ibid. p. 7950

vide.- http://www.findarticles.com/p/articles51

...they placed the study of the actual work of literature at the centre of scholarship


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3' wdlD;sh iy wka;.;h oaOdlrKh flfrys idjOdk u (awareness of theproblematic dichotomy of content and form)

4' Yo rgd flfrys tald.%djOdkh (focus on sound patterns)5' mGkh iy mdGlhd fj; fhduq jQ ie,ls,a,(shift of attention onto reading

processes)

reishdkq wdlD;sljdoh mYapd;a;k iy w;smYapd;a;k we;e fi!kaoh ixl,am ckkhflfrys o" iuyrla ixl,am wNsjOkh flfrys o" ;j;a iuyrla | fy


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10.Weitz, Morris (1959) Problems in Aesthetics New York - The Macmillan Co.

11.Wehrle, Albert J. (transl.1978) - Mikhail Bakhtin : The Formal Method in LiteraryScholarship: A

Critical Introduction to Sociological Poetics London - The Johns Hopkins

12.Wellek, Rene (1969) The Literary Theory and Aesthetics of the Prague School Ann Arbor

University of Michigan Press

URLs (selected)

1. http://www.unibuc.ro/eBooks/lls/RaduSurdulescu-FormStructuality

2. http://social.chass.ncsu.edu/wyrick/debclass/overform.htm

3. http://www.uni-kassel.de/fb8/misc/lfb/html/text/6-4

4. http://courses.essex.ac.uk/lt/lt204/lingpoetics.htm

5. http://www.unisa.ac.za/default.asp

6.http://www.centerforbookculture.org/context

7.http://www.findarticles.com/p/articles /mi_m2342/is_n4_v29/ai_18348510/pg_2

8.http://mural.uv.es/omaher/rusform.html

9.http://www.press.jhu.edu/books/hopkins_guide_to_literary_theory

Documents

Russian Formalists' Aesthetic Criteria - Rohana Seneviratne