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Russian formalists emerged from the Russian Revolution with ideas about the independence of literature They enjoyed that independence until Stalin shut them down. By then they had produced essays that remain among the best defenses ever written for both literature and its theory. Included here are four essays representing key points in the formalists' short history. Victor Scklovsky's pathbreaking "Art as Technique" (1917) vindicates disorder in literary style. His 1921 essay on Tristram Shandy makes that eccentric novel the centerpiece for a theory of narrative. A section from Tomashevsky's "Thematics" (1925) inventories the elements of stories. In "The Theory of the 'Formal Method'" (1927) Boris Eichenbaum defends Russian formalism from many attacks. An able champion, he describes formalism's evolution, notes its major workers and works, clears away decayed axioms, and rescues literature from "primitive historicism" and other dangers. These essays set a course for literary studies that led to Prague structuralism, French semiotics, and postmodern poetics. Russian Formalist Criticism has been honored as a Choice Outstanding Academic Book of the Year by the American Library Association..
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This collection of essays by and about the major Russian theorists includes Boris M. Èjxenbaum's "The Theory of the Formal Method," Viktor Sklovskij's "The Mystery Novel: Dickens's Little Dorrit," Roman Jakobson's "On Realism in Art," Mixail Baxtin's "Discourse Typology in Prose," and Osip M. Brik's "Contributions to the Study of Verse Language." Investigating the relationship of form and structure to the production of meaning in literature, these theorists laid the groundwork for the development of literary theory as a scientific discipline. A new introduction by Gerald L. Bruns provides a context for understanding why these works remain as important and influential now as when they were first written..
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This anthology of short fiction from around the world offers a collection of "non-traditional" stories from renowned as well as less familiar writers of the past 100 years. This survey of thought-provoking and noteworthy "non-realistic" and "non-narrative" short fiction will expand and enrich the scope of any short story or fiction-writing course. Students will think about literature and fiction writing in a new light while being exposed to a wide range of gender, ethnic, and stylistic diversity. The Introduction offers students historical and cultural perspectives on the "non-traditional" short story. In addition, author bios provide further insight into the aesthetic and craft choices that the authors featured in this text employ in their stories. One reviewer says, "Extreme Fiction fills a real void...I like the diversity of voices and the gender balance. It is a smart book that is highly readable."--Natalia Rachel Singer, St. Lawrence University..
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Arranged chronologically, the essays in this book-each brilliantly introduced by the editor-deal with the way art and culture interact in modern times. Each author focuses on one aspect of modern art and its relation to culture by analyzing, questioning or refuting the ideas about art that people just assume are true. The essays are also grouped into one of four different models used by art theorists today: the formalist (in which the works of art describe the processes of making art), the avant-garde (art that threatens the status quo), the contextualist (in which art can exist only in a specific situation or context), and the post-modernist (stating that art is not completely detached from popular culture)..
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This book analyses eleven of Varlam Shalamov’s Kolyma Tales from a neo-Formalist perspective. The tales are a testament to Shalamov’s seventeen years in Stalin’s Gulags, and were written in an attempt to draw attention to this period in Soviet history. Nathaniel Golden has primarily utilised L. M. O’Toole’s work Structure, Style and Interpretation in the Russian Short Story as the major basis for analysis, but has incorporated many other Formalist and indeed Structuralist methods.

The tales in each chapter are analysed by means of five major Formalist categories: Narrative Structure, Point of View, Fabula and Sujet, Characterisation and Setting. This process highlights many of Shalamov’s ideas and motifs in the tales. He frequently uses techniques of estrangement and paradox to augment camp experience, reflecting his belief that there is no moral, emotional or spiritual gain in suffering. He habitually employs a ‘focaliser’ to tell the tale from a near-death perspective and in consequence distances the author from events. His literary background is prominent within the tales, where he occasionally alludes to earlier Russian authors and their works to indicate the recurring nature of Man’s fallibility against the Gulag background. His characters are often simply portrayed yet representative of flawed heroes and the baseness of human beings subjected to an existence in extremis. His settings are minimal, yet form a major part of his message: Man is compared to nature, but nature is powerful and able to regenerate itself, whereas Man’s existence is temporary and futile.

This book therefore, shows that the Formalist approach is indeed still valid as a literary tool of analysis as well as showing that upon the 50th year of Stalin’s death, Varlam Shalamov’s time has arrived..
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