Index

Acmeism, 82, 106

Akhmatova, Anna, 99, 128

Aristotle, 62

Arnold, Matthew, x “Art as Technique,” xi, 25, 27, 48, 113–115

Avenarius, Richard, 9

Balmont, Konstantin, xiii, 94

Belinsky, Vissarion, x

Bely, Andrey, xiii, 7–8, 10, 29, 105, 110–111, 124, 126

Blok, Alexander, xiii, 110

Bobrov, Simeon, 126

Bogatyrev, Peter, 46

Boileau, 82, 85

Brik, Osip, 110–111, 124–125, 127

Brunetière, Ferdinand, 118

“Caliph Stork, The,” 76–77 Captain’s Daughter, The, 75, 80–81, 86–87

Cervantes, 12, 31, 116, 120

Character, characterization, 80, 88–89; direct and indirect, 88; dynamic and static, 89

Chekhov, Anton P., 79, 86, 95

Climax, 72

Conflict, 71

Defamiliarization, 4–5, 13–22, 25, 34, 48–49, 53, 54, 85–87, 114

Devices, plot, 92–95; free, 92; conventional, 92–93

Dobroliubov, Nicholas, x

Don Quixote, 12, 31, 36, 116, 120

Dostoevsky, Fyodor, 69, 75, 120, 134

Economy, artistic, 114

“Economy of mental effort,” 5–9, 10

Ehrenburg, Ilya, 64

Eichenbaum, Boris, xii, xiv, xv, 3

Emotion in art, 43–44, 65–66, 89–90

Ending, 71–72; regressive, 73

Ehrlich, Victor, ix, xiv, xv

Essenin, Sergey, 23

Evgeny Onegin, 22, 57, 63, 94

Evolution, literary, 118–119, 136–138; see also literary tradition

Exciting force, 72

Exposition, 72–74; immediate, 73; transposed, 73; delayed, 73–74

Foreshadowing, 74–75

Form, correspondent, 111–115; perceptible, 112; roughened, 114

Futurism, xii–xiii, xiv, 27, 82, 94, 105, 106, 108–109, 112, 123

Gogol, Nicholas, 6, 18, 30, 39, 44–46, 69, 88, 116, 121, 122, 134

Goncharov, Ivan A., 66

Gorky, Maxim, 23

Gulliver’s Travels, 43, 86

Hawthorne, Nathaniel, 25, 26, 62

Hero, 67, 75–77, 87–95, 120–121

Hulme, T. E., ix, xiii, 3

Imagery, xi, xiii, 3, 5–9, 18–21, 49–50, 110–111, 113–114, 132

Inspector General, The, 44–46, 122

Intrigue, 71

Ivanov, Vyacheslav, xiii, 23, 105

Jakobson, Roman, xv, xvi, 46, 107, 127–128, 138

Jakubinsky, Leo, xvi, 10–11, 12, 22, 107–109, 110, 128, 138

Kazansky, B., 118

Khlebnikov, Victor, 23, 94, 106, 128

“Kholstomer,” 13–15, 21, 43, 86

Klyuyev, Nicholas, 23

Language, poetic, xi, 10–11, 21–24, 93–94, 106–114, 115, 122–127, 128–131, 138; practical, xi, 10–11, 23–24, 107, 111, 106–114, 115, 138

Lermontov, Michael Y., 65, 85, 99, 110, 125

Leskov, Nicholas, 23

Literary tradition, 65, 68, 82, 85, 92–95, 105, 132–136

Lunacharsky, Anatoly, 100

Mask, 88–89

Mayakovsky, Vladimir, xiv, xv, 64, 106, 128

Merezhkovsky, Dmitry, 8, 13, 105

Metaphors, see also imagery

Meter, 122–127; see also rhythm

“Mistress into Maid,” 70, 73

Motif, xii, 29, 40, 41–44, 49, 51, 62, 67, 68, 74, 77–79, 81, 87–88, 90–91, 93; free, 68; bound, 68–69, 70; introductory, 69; dynamic, 70–71; static, 70–71

Motivation, 15, 26, 29–30, 34, 41, 46, 62, 78–80, 119—122, 138; compositional, 78–80; misleading, 80; realistic, 80–84, 85; artistic, 84–87

Narrative, limited, 75; objective, 75; omniscient, 75

Narrator, 75–77

Naturalism, 82–83

Nekrasov, Nicholas, 120

New Criticism, ix–x, xi, xii, 100, 101

Opoyaz, xiv, 99, 119, 120, 122, 124, 125, 131, 138

Ostrovsky, Alexander N., 65, 70, 74, 79–80, 82, 89, 90

Ovsyaniko-Kulikovsky, Dmitry, 6, 9

Parallelism, 8, 21, 113, 116, 119

Parody, 80, 82, 94–95, 134

Peripety, 72

Place, 77–78; dynamic, 78; static, 78 Plot, 25–26, 57, 61, 66–78, 115–119, 120–122, 138

Poor Bride, The, 70, 79–80

Potebnya, Alexander, xi–xii, 3–4, 5–6, 8, 13, 18, 105, 108, 110, 112–114, 115, 118, 131

Prague Linguistic Circle, xv

“Premonition,” 74–75

Pushkin, Alexander S., 22, 30, 57, 63, 67, 69, 70, 73, 75, 80–81, 83, 86–87, 92, 93, 94, 110, 126

Realism, 64–65, 80–84, 85, 121

Revealed device, 25, 26, 27, 84, 94–95

Rhyme, xiv, 110–111

Rhythm, xiv, 10, 23–24, 111, 123, 126–127, 130–131, 138; roughened, 5, 10

Scarlet Letter, The, 25, 26, 62

Scholarship, academic, ix–x, 105–106, 120

Shklovsky, Victor, xi, xv, xvi, 3, 100, 109, 112–118, 120–121, 132, 134, 135

“Shot, The,” 30, 67, 75

Situation, 70

Skaz, 67, 116, 117

Solovyev, Vladimir, 83–84

Spencer, Herbert, 9, 23–24

Sterne, Laurence, 26–57, 116, 120

Story, 25, 55–57, 61, 66–78, 90, 116, 121

Structure, exposed, 119–122

Swift, Jonathan, 43, 86

Symbolic correspondence, xiii–xiv, 3, 5–9, 110–111, 136

Symbolism, xii–xiv, 4, 7, 8, 82, 93, 105–106, 108–109, 112–115, 123–124, 126, 133

Syntax, 122–127

“Tale of Baida,” 69

Techniques, imperceptible, 93; perceptible, 93

Tension, 72

“Thematics,” xii, 25, 93

Theme, 61, 62–66, 67, 93

“Theory of the ‘Formal Method,’ The,” xv

Time, 66, 77; displacement, 28–30, 52, 54, 74; story, 36–37, 77–78; reading, 77–78

Tolstoy, Alexey, 65, 83

Tolstoy, Leo, xv, 3, 12, 13–18, 21, 22, 34, 43, 84, 85–86, 99, 116

Tomashevsky, Boris, xii, 25, 26, 126–127

Tristram Shandy, 25–57, 116, 120–121

Trotsky, Leo, 99–100

Turgenev, Ivan S., 12, 30, 64, 74

Tynyanov, Yury, 129–134

Tyutchev, Fyodor, 6, 119, 125, 129, 131

Veselovsky, Alexander, xi, xii, 10, 105, 107, 115, 117–118, 121

War and Peace, 3, 15–17, 22, 84–85

Warren, Austin, ix, xiv

Wellek, Rene, ix, xiv, xv

Zeitlin, Alexander, 100

Zhirmunsky, Victor, xvi, 124–126

Zhukovsky, Vasily A., 125