37 Sentences With "defamiliarization" | Random Sentence Generator

To me what poetry in particular is so good at is defamiliarization.

It gets to the Russian idea of defamiliarization and the Brechtian idea of alienation.

In 1917 a Russian guy, Viktor Shklovsky, came up with a word for this: defamiliarization.

Disorientation is the equivalent, in space and time, of the visual defamiliarization that was the 20th-century avant-garde's job description.

There is no defamiliarization going on here that might offer other critical judgments besides regarding his screwball paintings as a form of anti-intellectualism.

While I was working on the Desert of Pharan project, I spent most of my time living in the city — life is framed by this continual process of familiarization and defamiliarization.

Stephen, the protagonist of "The Long Room," catches an unexpected view of himself in a mirror and sees "a bare, forked animal," a startling and perfect fragment of defamiliarization plucked from Shakespeare.

In the titular suite, a 25-section poem on a particular instance of witchcraft persecution in 15th-century Sweden, O'Brien takes yet another approach to the paraphrase, putting it in service of rhapsodic defamiliarization.

In it she explores the nature of the creative process in relation to novel-writing, including concepts such as defamiliarization.

To Spiegel, estrangement is the effect on the reader which can be caused by defamiliarization or through deliberate recontextualization of the familiar.

Shklovsky's defamiliarization can also be compared to Jacques Derrida's concept of différance: > What Shklovskij wants to show is that the operation of defamiliarization and > its consequent perception in the literary system is like the winding of a > watch (the introduction of energy into a physical system): both "originate" > difference, change, value, motion, presence. Considered against the general > and functional background of Derridian différance, what Shklovsky calls > "perception" can be considered a matrix for production of difference. Since the term différance refers to the dual meanings of the French word difference to mean both "to differ" and "to defer", defamiliarization draws attention to the use of common language in such a way as to alter one's perception of an easily understandable object or concept. The use of defamiliarization both differs and defers, since the use of the technique alters one's perception of a concept (to defer), and forces one to think about the concept in different, often more complex, terms (to differ).

The writer shakes up the familiar scene, and as if by > magic, we see a new meaning in it. According to literary theorist Uri Margolin: > Defamiliarization of that which is or has become familiar or taken for > granted, hence automatically perceived, is the basic function of all > devices. And with defamiliarization come both the slowing down and the > increased difficulty (impeding) of the process of reading and comprehending > and an awareness of the artistic procedures (devices) causing them.

Defamiliarization has been associated with the poet and playwright Bertolt Brecht, whose Verfremdungseffekt ("estrangement effect") was a potent element of his approach to theatre. In fact, as Willett points out, Verfremdungseffekt is "a translation of the Russian critic Viktor Shklovskij's phrase 'Priem Ostranenija', or 'device for making strange'". Brecht, in turn, has been highly influential for artists and film-makers including Jean-Luc Godard and Yvonne Rainer. Science fiction critic Simon Spiegel, who defines defamiliarization as "the formal-rhetorical act of making the familiar strange (in Shklovsky's sense)," distinguished it from Brecht's estrangement effect.

Beatrice the Sixteenth has been described as a successful example of defamiliarization, in that it places the reader in a world initially without any indications of gender and this places strain on the reader's attempt to apply existing social paradigms which require gender categorisation.

For Shklovsky, the syuzhet (plot) is the fabula (story) defamiliarized. He coined and popularized the term defamiliarization or ostranenie, which literally means “making strange,” in his 1917 article “Art as Technique.”Victor Shklovsky, “Art as Technique,” in Russian Formalist Criticism: Four Essays, 2nd ed., trans.

To illustrate what he means by defamiliarization, Shklovsky uses examples from Tolstoy, whom he cites as using the technique throughout his works: "The narrator of 'Kholstomer,' for example, is a horse, and it is the horse's point of view (rather than a person's) that makes the content of the story seem unfamiliar." As a Russian Formalist, many of Shklovsky's examples use Russian authors and Russian dialects: "And currently Maxim Gorky is changing his diction from the old literary language to the new literary colloquialism of Leskov. Ordinary speech and literary language have thereby changed places (see the work of Vyacheslav Ivanov and many others)." Defamiliarization also includes the use of foreign languages within a work.

"Belgian Embassy Sale in Tokyo", Deloitte, November 2006, Belgium. Van Hove's early work includes wanderlust, defamiliarization, psychogeography and dérive, and he early on acknowledged transcendentalist influences"installations in Finnish Lapland", Van Hove's website. in trying to oppose a more spiritual and decentralized approach to the Eurocentric intellectualism of the contemporary art world.

Zygmunt's argument centers around his disagreement with Eisenstein that montage was logical, but rather psychological. As such, abstract films defamiliarize objects and have the potential to create critical spectators. Defamiliarization was seen a catalyst for revolutionary thinking. Clearly, the adoption of Montage Theory was rarely hard and fast, but rather a stepping stone for other theories.

Daguguguji's initial fame came from his writings on Chinese forums such as Hi!PDA and TGFC. Currently he uses Sina Weibo as the main channel for publishing various writings, whose topics range from cultural commentary to political satire. His works are marked by their use of Defamiliarization, which is accomplished by the use of local dialects and self-made words.

Bertolt Brecht coined the term "defamiliarization effect" (sometimes called "estrangement effect" or "alienation effect"; German Verfremdungseffekt) for an approach to theater that focused on the central ideas and decisions in the play, and discouraged involving the audience in an illusory world and in the emotions of the characters. Brecht thought the audience required an emotional distance to reflect on what is being presented. See epic theater.

Shklovsky, however, insisted that not all artistic texts de- familiarize language, and that some of them achieve defamiliarization (ostranenie) by manipulating composition and narrative. The Formalist movement attempted to discriminate systematically between art and non-art. Therefore, its notions are organized in terms of polar oppositions. One of the most famous dichotomies introduced by the mechanistic Formalists is a distinction between story and plot, or fabula and "sjuzhet".

I Will Turn Off the Lights won the 2002 Hooshang Golshiri Literary Award for the 'Best Novel of the Year' for her "superb characterization, ingenious representation of the conflicting emotions of a woman, creating suspense through defamiliarization of everyday life, creating a language in perfect harmony with the theme and characters of the novel". Zoya Pirzad has become the latest Iranian figure to receive France’s Chevalier of Legion of Honor award.

As a decisive step towards defamiliarization, she turns the people's spare living rooms into a stage. Saana Wang conveys multilayered reality that express structures of power as well as tensions between the different elements in the picture. Saana Wang has had exhibitions in New York City, European countries such as Finland, (Germany), Denmark, Switzerland, as well as East Asia. Saana Wang won the International Photography Prize International Talent Support – Photo Award 2009.

It insisted that literary scholars should solely be concerned with the component parts of a literary text and should exclude all intuition or imagination. It emphasised that the focus resides on the literary creation itself rather than the author/reader or any other extrinsic systems (Erlich 1973, p. 628). To Russian Formalists, and especially to Victor Shklovsky, literariness, or the distinction between literary and non-literary texts, is accomplished through ‘defamiliarization’ (Ekegren 1999, p. 44).

As the title suggestions, the short story may be considered in two parts - the ball and the flogging. Tolstoy uses defamiliarization in each part to emphasize the importance of the ritual and social norms. During the ball, Varenka dances with her father as Ivan watches. He is struck by the "tapping of soles and of foot against foot," noting the juxtaposition between Varenka's small white satin shoes and her father's large military boots.

Like Jaroslav Hašek and Joyce he had not learnt this scissors-and- paste method from the Soviet cinema but picked it out of the air" (1978, 110). One of Brecht's most important principles was what he called the Verfremdungseffekt (translated as "defamiliarization effect", "distancing effect", or "estrangement effect", and often mistranslated as "alienation effect").Brooker (1994, 193). Brooker writes that "the term 'alienation' is an inadequate and even misleading translation of Brecht's Verfremdung.

This results in an anti-academic bias despite the use of formal methodologies, such as defamiliarization. This contradiction exists in many subcultures, especially those dependent on defining themselves in terms of opposition to the mainstream. This nonconformity is eventually co-opted by the dominant forces, such as Hollywood, and marketed to the mainstream. Academic Xavier Mendik also defines cult films as opposing the mainstream and further proposes that films can become cult by virtue of their genre or content, especially if it is transgressive.

Budgett's early pre-digital photomontages have been described as "amalgamations of image and performance in front of the camera."Ashwell, Jon. "Shadow of Darkness," Impact, 1987, p. 14–5. They draw on appropriated sources—which he altered and blended in-camera with live models, props and sculpture, text and his own photographs—and the bright colors, gloss and fantasy of advertising aesthetics; the juxtaposition of recognizable, inviting visuals, darker stories and critiques of political myths and consumer capitalism create an intentional shock or defamiliarization effect to provoke viewers.

Defamiliarization or ostranenie () is the artistic technique of presenting to audiences common things in an unfamiliar or strange way so they could gain new perspectives and see the world differently. According to the Russian formalists who coined the term, it is the central concept of art and poetry. The concept has influenced 20th-century art and theory, ranging over movements including Dada, postmodernism, epic theatre, science fiction, philosophy, and New Testament narrative criticism;James L. Resseguie, "A Glossary of New Testament Narrative Criticism with Illustrations," in Religions, 10 (3) 217). additionally, it is used as a tactic by recent movements such as culture jamming.

It manages nonetheless to achieve the same defamiliarization—a revitalizing rendering of something that is familiar into something that is abstract or strange—as its Russian counterpart. Reactions to Ivens's film vary over time, as scholars come to compare this work to the rest of Ivens's work very differently from the fellow Filmliga members who reacted to this singular art piece in the 1920s. Pudovkin may have started the trend of calling the film uncharacteristic for Ivens, as it lacked any of his spirituality. Films like Rain and The Bridge were beautiful, but they were only formal experiments, not reflective of Ivens's search for certainty in a chaotic world.

The fabula (story) is what happened in chronological order. In contrast, the syuzhet (plot) means a unique sequence of discourse that was sorted out by the (implied) author. That is, the syuzhet can consist of picking up the fabula events in non- chronological order; for example, fabula is 1, a2, a3, a4, a5, ..., an>, syuzhet is 5, a1, a3>. The Russian formalist, Viktor Shklovsky, viewed the syuzhet as the fabula defamiliarized. Defamiliarization or “making strange,” a term Shklovsky coined and popularized, upends familiar ways of presenting a story, slows down the reader's perception, and makes the story appear unfamiliar.Victor Shklovsky, “Art as Technique,” in Russian Formalist Criticism: Four Essays, 2nd ed.

In Canada, David Miall, usually working with Donald Kuiken, has produced a large body of work exploring emotional or "affective" responses to literature, drawing on such concepts from ordinary criticism as "defamiliarization" or "foregrounding". They have used both experiments and new developments in neuropsychology, and have developed a questionnaire for measuring different aspects of a reader's response. There are many other experimental psychologists around the world exploring readers' responses, conducting many detailed experiments. One can research their work through their professional organizations, the International Society for the Empirical Study of Literature and Media, and International Association of Empirical Aesthetics, and through such psychological indices as PSYCINFO.

Rather than using conventional syntax, Stein experiments with alternative grammar to emphasize the role of rhythm and sound in an object's "moment of consciousness". The disconnect between the familiarity of the objects and the manner in which they are described results in the defamiliarization of the familiar while simultaneously familiarizing the unfamiliar. Rather than explore the means in which the signified and the signifier interact, Stein's avant-garde approach to writing deconstructs this relationship and instead obstructs a systematized process of meaning. By both redefining and undermining meaning merely through experimental grammar, Stein is able to displace everyday objects into new contexts, resulting in the reader's redefinition and reassessment of the reality of the mundane.

Best exemplified in his own words as, "the football player skates across the battlefield." In this simple statement he was highlighting the dislocation of orientation and any possibility of a singular reading; a common resultant of the post- structuralist project. This approach unfolded along two lines in his architectural practice: first, by exposing the conventionally defined connections between architectural sequences and the spaces, programs, and movement which produce and reiterate these sequences; and second, by inventing new associations between space and the events that 'take place' within it through processes of defamiliarization, de-structuring, superimposition, and cross programming. Tschumi's work in the later 1970s was refined through courses he taught at the Architectural Association and projects such as The Screenplays (1977) and The Manhattan Transcripts (1981) and evolved from montage techniques taken from film and techniques of the nouveau roman.

In addition to literary criticism and biographies about such authors as Laurence Sterne, Maxim Gorky, Leo Tolstoy, and Vladimir Mayakovsky, he wrote a number of semi-autobiographical works disguised as fiction, which also served as experiments in his developing theories of literature. Shklovsky is perhaps best known for developing the concept of ostranenie or defamiliarization (also translated as "estrangement") in literature.Carla Benedetti (1999) The empty cage: inquiry into the mysterious disappearance of the author He explained the concept in 1917 in the important essay "Art as Technique" (also translated as "Art as Device")Viktor Shklovsky (1917) Art as Technique which comprised the first chapter of his seminal Theory of Prose, first published in 1925. He argued for the need to turn something that has become over-familiar, like a cliché in the literary canon, into something revitalized:Peter Brooker, Andrzej Gasiorek, Deborah Longworth (2011) The Oxford Handbook of Modernism p.

Veronica Hollinger, co-editor of the scholarly journal "Science Fiction Studies" of DePauw University, states in her article, "(Re)reading Queerly: Science Fiction, Feminism, and the Defamiliarization of Gender", that women are forced to conform to a constructed ideal of femininity in order to avoid being seen as a failure or, to some extent, incomplete. To Hollinger, "The Girl Who Was Plugged In" is about the ways women experience pressure from society to fulfill the set standards of femininity as seen in P. Burke's desperate desire to fully leaving her real body and re-embody permanently as Delphi. In a society where the only way to achieve happiness is by conforming completely to a constructed ideal, P. Burke has little choice but to live through the perfect girl body that is Delphi. Heather J. Hicks reinforces Hollinger's views in her article "”Whatever It Is That She’s Since Become”: Writing Bodies of Text and Bodies of Women in James Tiptree, Jr.’s “The Girl Who Was Plugged In” and William Gibson’s “The Winter Market”" by stating that P. Burke denies her unappealing, real body.

The influence of Russian Formalism on twentieth-century art and culture is largely due to the literary technique of defamiliarization or 'making strange', and has also been linked to Freud's notion of the uncanny. In Das Unheimliche ("The Uncanny"), Freud states that "the uncanny is that class of the frightening which leads back to what is known of old and long familiar," however, this is not a fear of the unknown, but more of a feeling about something being both strange and familiar. The connection between ostranenie and the uncanny can be seen where Freud muses on the technique of literary uncanniness: "It is true that the writer creates a kind of uncertainty in us in the beginning by not letting us know, no doubt purposely, whether he is taking us into the real world or into a purely fantastic one of his own creation." When "the writer pretends to move in the world of common reality," they can situate supernatural events, such as the animation of inanimate objects, in the quotidian, day-to-day reality of the modern world, defamiliarizing the reader and provoking an uncanny feeling.