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Two schools of formalist literary criticism developed, Russian formalism, and soon after Anglo-American New Criticism. Formalism was the dominant mode of academic literary study in the US at least from the end of the Second World War through the 1970s, especially as embodied in René Wellek and Austin Warren's Theory of Literature (1948, 1955 ...
Formalism is a school of thought in law and jurisprudence which assumes that the law is a system of rules that can determine the outcome of any case, without reference to external norms. For example, formalism animates the commonly heard criticism that "judges should apply the law, not make it."
The formalist vs. substantivist debate was not between anthropologists and economists, however, but a disciplinary debate largely confined to the journal Research in Economic Anthropology. In many ways, it reflects the common debates between etic and emic explanations as defined by Marvin Harris in cultural anthropology of the period.
New Criticism was a formalist movement in literary theory that dominated American literary criticism in the middle decades of the 20th century. It emphasized close reading , particularly of poetry, to discover how a work of literature functioned as a self-contained, self-referential aesthetic object.
Russian formalism was a school of literary theory in Russia from the 1910s to the 1930s. It includes the work of a number of highly influential Russian and Soviet scholars such as Viktor Shklovsky, Yuri Tynianov, Vladimir Propp, Boris Eichenbaum, Roman Jakobson, Boris Tomashevsky, Grigory Gukovsky who revolutionised literary criticism between 1914 and the 1930s by establishing the specificity ...
A formal analysis is an academic method in art history and criticism for analyzing works of art: "In order to perceive style, and understand it, art historians use 'formal analysis'. This means they describe things very carefully.
Textualism is a formalist theory in which the interpretation of the law is based exclusively on the ordinary meaning of the legal text, where no consideration is given to non-textual sources, such as intention of the law when passed, the problem it was intended to remedy, or significant questions regarding the justice or rectitude of the law.
Formalist film theory is an approach to film theory that is focused on the formal or technical elements of a film: i.e., the lighting, scoring, sound and set design, use of color, shot composition, and editing. This approach was proposed by Hugo Münsterberg, Rudolf Arnheim, Sergei Eisenstein, and Béla Balázs. [1]