| 摘要:（摘要内容经过系统自动伪原创处理以避免复制，下载原文正常，内容请直接查看目录。） 本文旨在引见俄国情势主义及其代表人物什克洛夫斯基提出的生疏化实际的美学价值和意义。情势主义是第一种视文学自己为自力自足存在并将文学著作自己作为研究对象而非经由过程其他门路如作者生平、心思身分或许社会角度来考核文学的批驳实际。本文从引见俄国情势主义实际的根本不雅点如“文学性”、“诗语与平常语”等动手对生疏化实际停止研究，并经由过程援用详细文学著作为例证来考核生疏化实际的美学意义。本文由三章构成。第一章将俄国情势主义的重要实际不雅点作了详细引见，包含六个重要不雅点文学性、诗歌说话和平常用语的差别、情势与内容、情节与本领、诗语中的语音和语义的关系和文学和生涯的关系。第二章对什克洛夫斯基提出的生疏化实际作了详细剖析。什克洛夫斯基以为艺术的目标在于为人们供给审美感触感染，所以可理性是艺术存在的条件。但是，俄语毕业论文，人的感触感染老是趋于习气和主动，什克洛夫斯基把这类纪律称为感触感染的“主动化”。为了战胜“主动化”什克洛夫斯基提出了“生疏化”这一概念。“生疏化”是指将事物曾经为人熟习的情势停止变形，从新唤起人对事物的留意。本章重要研究运用于文学著作中的使其情势和资料变得生疏以供给给读者审美感触感染的办法，俄语毕业论文，并经由过程举例解释的措施来提醒生疏化手段完成审美目标的特点。第三章测验考试用“主动化”和“生疏化”的概念来提醒文学成长的纪律和特点。文学史的成长是作风和手段的更替，是由文学外部和内部动 Abstract: This paper aims to introduce the aesthetic value and significance of the practice of the Russian formalism and its representative figure Shklovsky. The situation is the first literature view themselves as independent self-sufficient and literary works as the research object rather than through a process other avenues such as the author's life, mind identity or social point of view to assess the literature criticism practice. This article from the introduction of Russian formalism actual fundamental indecent point such as "Literature", "poetic language and ordinary language" hands of strange practical research, and through the process invoked with literary works as examples to assess the strange aesthetic significance of the actual. This paper consists of three chapters. The first chapter will has made the detailed introduction on the important theory of Russian formalism indecent point, contains six important not elegant literature, poetry speak peace commonly used language difference, situation and content, plot and ability, poetry language phonetic and semantic and the relationship between literature and life. The second chapter makes a detailed analysis of the practice of the new Shklovsky proposed. Shklovsky thought that the aim of art is to provide people with aesthetic feeling, so the reason is the condition of art existence. However, people tend to be accustomed to the feelings of the initiative and initiative, Shklovsky this kind of discipline known as the feelings of the initiative". In order to overcome the "initiative" Shklovsky put forward the concept of "unfamiliar". "Strange" refers to people familiar with the situation once things stop deformation, arouse people from new things to pay attention to. This chapter mainly studies the application to literary works of the situation and information become strange to supply to the readers aesthetic feeling that way, and through examples of interpretation of the method to remind strange means to complete the aesthetic characteristics. In the third chapter, the concept of "active" and "unfamiliar" is used to remind the discipline and characteristics of the development of literature. The development of literary history is the replacement of style and method, which is composed of external and internal literature. 目录: Introduction 9-15 Chapter 1: Outlining the Doctrines of Russian Formalism 15-27 1.1 The Subject Matter: Literariness 15-18 1.2 Defining the Poetic Language 18-20 1.3 Form versus Content/Material versus Device 20-23 1.4 Sound and Meaning 23-24 1.5 Story versus Plot 24-25 1.6 Literature and Life 25-27 Chapter 2: Aesthetic Significance of Defamiliarization 27-52 2.1 Automatization 27-31 2.1.1 Perceptibility — the Presupposition of the Existence of Literature 27-30 2.1.2 Habitualization 30-31 2.2 Defamiliarization 31-35 2.2.1 Defamiliarization as Technique 31-33 2.2.2 Materialization of the Technique 33-35 2.3 Esthetic Feature of Defamiliarization—Creative Deformation 35-52 2.3.1 Level of Particular Sentences 36-40 2.3.2 Level of Whole Text Structure 40-52 2.3.2.1 Rhythm and Verse 40-45 2.3.2.2 Retardation and Prose 45-48 2.3.2.3 Laying Bare the Device 48-52 Chapter 3: Defamiliarization and Literary Evolution 52-57 3.1 Driving Force of Literary Evolution 52-54 3.2 Principle of Literary Evolution 54-56 3.3 Conclusion 56-57 Conclusion 57-59 Bibliography 59-62 承诺书 62 |
