摘要
一直以来,学界对什克洛夫斯基"陌生化"理论进行研究主要是针对其前期创作,而对其"陌生化"理论的后期发展情况却很少有人问津,其主要原因在于人们认为什氏后期放弃了"陌生化"理论。实际上,什氏的"陌生化"理论在后来已得到不断的自我修正和发展。本文以此为切入点,试图证明什氏的前期创作在强调形式本体的同时,只是对内容进行了"悬置",而后期创作在坚持"陌生化"这一基本方法论的同时,又对该理论作出了进一步的修正及拓展,并挖掘了通过"陌生化"方法所获得的思想旨趣。
For a long time, research into Shklovsky＇s ＂defamiliarization＂ theory has aimed mainly at the early stage of its creation; however, few people have been interested in its later development. The main reason is that people think Shklovsky has later abandoned his ＂ defamiliarization＂ theory. In fact, later on, his theory has been continuously correcting and developing itself. Taking this as a breakthrough, the paper tries to prove that Shklovsky＇s early creation only ＂suspended＂ content while emphasizing form noumenon, and that, while adhering to the basic method, i.e. ＂defamiliarization＂, his later creation has given further amendments and expansion to his theory and has obtained the ideological purport through the ＂defamiliarization＂ method.
出处
《俄罗斯文艺》
CSSCI
北大核心
2012年第2期30-34,共5页
Russian Literature & Arts
基金
黑龙江省高校人文社会科学重点研究基地--俄罗期文化艺术研究中心资助
关键词
陌生化
方法
悬置
内容
defamiliarization
method
suspension
content
