123 Sentences With "formalists" | Random Sentence Generator

"Hedge funds are not generally constitutional formalists," he said, dryly.

Maybe form is primary, and the formalists, in their blinkered intensity, were on to something they never managed to articulate.

"For formalists — those moviegoers sent into raptures by tight editing, nimble camera work and faultless sound design — it's pure heaven."

If your aestheticism forbids compulsive formalists from indulging in ridiculous kitsch for the sheer sake of genre exercise, give me the kitsch, please.

Advertise on Hyperallergic with Nectar Ads RHINEBECK, NY — Once there were formalists: critics and artists who looked for the meaning of art in the forms of art.

The formalists' argument, shaped by the theories of then-dominant New Critics, was that art should be judged by aesthetic standards alone, no matter its political content.

Self-reflection, generative energy: these are the powers of form that the old-school formalists overlooked when they were obsessing about the "medium specific" features of painting and sculpture.

In legal jargon, this means the judges were found to more often be "realists" than "formalists" — interested more in a "fair" judgement than a strict application of the letter of the law.

In truth, abstract art was never as pure or self-contained as its champions liked to claim, and formalists who insist on seeing it as the polar opposite of representational painting do it an injustice.

There's J. Cole, of course, as well as respected lyricists such as Rapsody and King Mez, Driicky Graham of "Snapbacks and Tattoos" fame, and the true-school formalists Phonte and 9th Wonder, formerly of Little Brother.

I'm not here to tell you how to feel about the art of poetry at large, but I think that is a conceptual achievement on par with anything the great formalists of English letters have done elsewhere.

First, I think that he misconstrues why the formalists and the reader-response folks wanted to separate the artist from the art: They wanted to undo the artist's monopoly over the way we talk about their art.

It insists that what he made, why he made it and how he made it are all intertwined; that we must be formalists and feminists at once; and that we should all be a touch less sure of our responses.

Danny had grown up studying formalists like Nas and regional heroes like Mac Mall and Master P, Spice-1 and Scarface; he had a meticulous understanding of what critics wanted and what held up over time, but he discarded everything that wasn't jarring, intimate, unhinged.

Sign o' the Times does the job for you — as with obsessive formalists whose whole albums define and/or apotheosize their chosen genres through a combination of received stylistic convention and the illusion of pop functionalism, each song on Prince's album performs that trick for a different context.

What might count more, perhaps, is its spirit — and precisely because, beyond what his drawings purport to represent, their meanings remain mysterious; formalists, in particular, may be hard pressed to extract some kind of cogent, recognizable sense out of Way's colors and random patterns, even if their maker so obviously can.

However you approach Melotti's work, with its mix-up of media and broad embrace of architecture and set design, it isn't hard to recognize the richness of the road not taken by mainstream postwar American art, when formalists like Michael Fried were hunting down "theatricality" — the most grievous sin against the autonomy of the art object — even in the work of certain Minimalists.

As Billboard notes, "West's history of mental health struggles, which includes a hospitalization last year, may also be an excuse for some fans who don't share his values to dismiss his tweets..." The most successful attempt to break the deadlock between formalists and ideologists came from Irving Howe, who, in a series of essays, explored how the explicit ideology of artists isn't necessarily mirrored in their work.

Other formalists, such as Rudolf Carnap, considered mathematics to be the investigation of formal axiom systems. Haskell Curry defines mathematics as "the science of formal systems." Curry's formalism is unlike that of term formalists, game formalists, or Hilbert's formalism. For Curry, mathematical formalism is about the formal structure of mathematics and not about a formal system.

In short, these notions are different even if formalists do not perceive them as different.

This is as opposed to non-formalists, within that field, who hold that there are some things inherently true, and are not, necessarily, dependent on the symbols within mathematics so much as a greater truth. Formalists within a discipline are completely concerned with "the rules of the game," as there is no other external truth that can be achieved beyond those given rules. In this sense, formalism lends itself well to disciplines based upon axiomatic systems.

Hilbert was initially a deductivist, but, as may be clear from above, he considered certain metamathematical methods to yield intrinsically meaningful results and was a realist with respect to the finitary arithmetic. Later, he held the opinion that there was no other meaningful mathematics whatsoever, regardless of interpretation. Other formalists, such as Rudolf Carnap, Alfred Tarski, and Haskell Curry, considered mathematics to be the investigation of formal axiom systems. Mathematical logicians study formal systems but are just as often realists as they are formalists.

Vassiliev graduated from V.I. Surikov State Art Institute, Moscow, in 1958. In the late 1950s he became influenced by the Russian avant-garde formalists, Vladimir Favorsky (1886–1964), Robert Falk (1886–1958), and Artur Fonvizin (1883–1973).

Legal formalism is both a descriptive theory and a normative theory of how judges should decide cases. In its descriptive sense, formalists believe that judges reach their decisions by applying uncontroversial principles to the facts. Although the numerous decided cases imply numerous principles, formalists believe that there is an underlying logic to these principles that is straightforward and which legal experts can readily discover. The ultimate goal of formalism would be to formalise the underlying principles in a single and determinate system that could be applied mechanically (hence the label 'mechanical jurisprudence').

In this it had similarities with the Russian Formalists' theory of 'making strange', and accordingly their main theorist Viktor Shklovsky worked closely with the Constructivists, as did other formalists like the Arch Bishop. These theories were tested in theatre, particularly with the work of Vsevolod Meyerhold, who had established what he called 'October in the theatre'. Meyerhold developed a 'biomechanical' acting style, which was influenced both by the circus and by the 'scientific management' theories of Frederick Winslow Taylor. Meanwhile, the stage sets by the likes of Vesnin, Popova and Stepanova tested Constructivist spatial ideas in a public form.

Harvard University Press, 2014. In Towards an Anthropological Theory of Value: The False Coin of Our Own Dreams, anthropologist David Graeber offers compliments to Polanyi's text and theories. Graeber attacks formalists and substantivists alike, "those who start by looking at society as a whole are left, like the Substantivists, trying to explain how people are motivated to reproduce society; those who start by looking at individual desires, like the formalists, unable to explain why people chose to maximize some things and not others (or otherwise to account for questions of meaning)."Graeber, Towards an Anthropological Theory of Value, pg.

' Jonathan Culler, The > Pursuit of Signs: Semiotics, Literature, Deconstruction, Routledge Classics > ed. (London: Routledge, 2001) 189. The Russian Formalists first proposed such a distinction, employing the couplet fabula and sujet. A subsequent succession of alternate pairings has preserved the essential binomial impulse, e.g.

Its theoretical lineage is traceable to Aristotle (Poetics) but modern narratology is agreed to have begun with the Russian Formalists, particularly Vladimir Propp (Morphology of the Folktale, 1928), and Mikhail Bakhtin's theories of heteroglossia, dialogism, and the chronotope first presented in The Dialogic Imagination (1975).

"Artist and model". Canvas, oil. 75х100. 2013. His fame throughout the Soviet Union did not change Brusilovsky's standing among the bureaucrats from the Sverdlovsk branch of the Communist Party, who added the artist's name to the "black" list of formalists,"Misha Brusilovsky. World of the artist", 2002.

Still, there are other views as well. Some believe that democracy is part of the rule of law. The "formal" interpretation is more widespread than the "substantive" interpretation. Formalists hold that the law must be prospective, well-known, and have characteristics of generality, equality, and certainty.

Indiana University Press, 1984. Page XX. The Russian Formalists largely shared a critical view of Veselovsky's theory, although it has been suggested that Veselovsky's doctrine was actually a point from which they evolved "in a linear, if polemical, way".Dragan Kujundzic. The Returns of History: Russian Nietzscheans After Modernity.

Formalists are relatively tolerant and inviting to new approaches to logic, non-standard number systems, new set theories etc. The more games we study, the better. However, in all three of these examples, motivation is drawn from existing mathematical or philosophical concerns. The "games" are usually not arbitrary.

The rest cluster between 1942 and 1954. Reading the interviews sequentially, the reader comes to appreciate that the New Formalists do not constitute a monolith. None is an ideologue. None believes a formal poem is automatically superior to its free verse cousin, and some write free verse themselves.

In 1832, composer Robert Schumann stated that his piano work Papillons was "intended as a musical representation" of the final scene of a novel by Jean Paul, Flegeljahre. The thesis that the value of music is related to its representational function was vigorously countered by the formalism of Eduard Hanslick, setting off the "War of the Romantics." This fight divided the aesthetics into two competing groups: On one side are formalists (e.g., Hanslick), who emphasize that the rewards of music are found in appreciation of musical form or design, while on the other side are the anti-formalists, such as Richard Wagner, who regarded musical form as a means to other artistic ends.

Usually several hundred people gathered each occasion in the square. The participants in the 1960-61 readings included the "veterans" of two years before, as well as a new layer of young people. Poetry by Nikolay Gumilev, Boris Pasternak and Osip Mandelstam was read. Soviet Nonconformist Art and works by formalists were also circulated.

Thus intuitionists absolutely disallow the blanket assertion: "For all propositions P concerning infinite sets D: P or ~P" (Kleene 1952:48). :For more about the conflict between the intuitionists (e.g. Brouwer) and the formalists (Hilbert) see Foundations of mathematics and Intuitionism. Putative counterexamples to the law of excluded middle include the liar paradox or Quine's paradox.

To achieve these objectives several models were developed. The formalists agreed on the autonomous nature of poetic language and its specificity as an object of study for literary criticism. Their main endeavor consisted in defining a set of properties specific to poetic language, be it poetry or prose, recognizable by their "artfulness" and consequently analyzing them as such.

In contrast to logicism or intuitionism, formalism's contours are less defined due to broad approaches that can be categorized as formalist. Along with logicism and intuitionism, formalism is one of the main theories in the philosophy of mathematics that developed in the late nineteenth and early twentieth century. Among formalists, David Hilbert was the most prominent advocate of formalism.

The New Critics and various European-influenced formalists (particularly the Russian Formalists) had described some of their more abstract efforts as "theoretical" as well. But it was not until the broad impact of structuralism began to be felt in the English-speaking academic world that "literary theory" was thought of as a unified domain. In the academic world of the United Kingdom and the United States, literary theory was at its most popular from the late 1960s (when its influence was beginning to spread outward from universities such as Johns Hopkins, Yale, and Cornell) through the 1980s (by which time it was taught nearly everywhere in some form). During this span of time, literary theory was perceived as academically cutting-edge, and most university literature departments sought to teach and study theory and incorporate it into their curricula.

The most widely known work carried out in this tradition is Vladimir Propp's "Morphology of the Folktale" (1928). Having shifted the focus of study from an isolated technique to a hierarchically structured whole, the organic Formalists overcame the main shortcoming of the mechanists. Still, both groups failed to account for the literary changes which affect not only devices and their functions but genres as well.

3 Formalism sees adjudication as the uncontroversial application of accepted principles to known facts to derive the outcome in the manner of a deductive syllogism.Posner, R. A. (2008). How Judges Think. Cambridge, Massachusetts; London: Harvard University Press. p. 41 Formalists believe that the relevant principles of law of a given area can be discerned by surveying the case law of that area.Anthony T. Kronman. (1993).

The Russian formalists distinguished between the fabula or basic story stuff of a narrative and the syuzhet or the formation of the story stuff into a concrete plot. For Shklovsky, the syuzhet is the fabula defamiliarized. Shklovsky cites Lawrence Sterne’s Tristram Shandy as an example of a story that is defamiliarized by unfamiliar plotting.Victor Shklovsky, "Sterne's Tristram Shandy: Stylistic Commentary" in Russian Formalist Criticism: Four Essays, 2nd ed.

In the same piece, she praised Mark Rothko and Georgia O'Keeffe amongst others as they "bravely crossed invisible frontiers that have seldom been spoken of among formalists." Hood praised O'Keeffe in particular for including the void and nature together in her works. In 1982, she was included in a documentary about women artists called From the Heart. In 1983, Hood's work was exhibited in the Kunstverein in Salzburg.

The Reaper ran for ten years. Also during the early 1980s, Dana Gioia, a Sicilian- and Mexican-American poet who had grown up in a working class neighborhood in Hawthorne, California, first began to attract attention with appearances in The Hudson Review, Poetry, and The New Yorker. He also published essays and book reviews. Gioia's poetry and prose helped to establish him as one of the leading New Formalists.

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".

The reader is not meant to be able to skim through literature. When addressed in a language of estrangement, speech cannot be skimmed through. "In the routines of everyday speech, our perceptions of and responses to reality become stale, blunted, and as the Formalists would say 'automatized'. By forcing us into a dramatic awareness of language, literature refreshes these habitual responses and renders objects more perceptible" (Eagleton 3).

The problem for Bruner is to explore the underlying narrative structures (syuzhets) in not only Russian formalism, but also French Structuralism (Roland Barthes, Tzvetan Todorov and others). The European formalists posit narrative grammars (i.e. Todorov's simple transformations of mode, intention, result, manner, aspect and status, as well as complex transformations of appearance, knowledge, supposition, description, subjectification and attitude). For Bruner, the story (fabula stuff) becomes the "virtual text" (p.

Yury Tynyanov was a Russian writer and literary critic. Boris Eichenbaum outlined principles of syntagmatic construction. Syntagmatic analysis deals with sequence and structure, as opposed to the paradigm emphasis of paradigmatic analysis. The cinema, for Eichenbaum, is a “particular of figurative language,” the stylistics of which would treat filmic “syntax,” the linkage of shots in “phrases” and “sentences.” Russian formalists Eichenbaum and Tynyanov had two different approaches to interpreting the signs of film.

Disappointed by the constraints of the mechanistic method some Russian Formalists adopted the organic model. "They utilized the similarity between organic bodies and literary phenomena in two different ways: as it applied to individual works and to literary genres" (Steiner, "Russian Formalism" 19). An artefact, like a biological organism, is not an unstructured whole; its parts are hierarchically integrated. Hence the definition of the device has been extended to its function in text.

The diachronic dimension was incorporated into the work of the systemic Formalists. The main proponent of the "systemo-functional" model was Yury Tynyanov. "In light of his concept of literary evolution as a struggle among competing elements, the method of parody, "the dialectic play of devices," becomes an important vehicle of change" (Steiner, "Russian Formalism" 21). Since literature constitutes part of the overall cultural system, the literary dialectic participates in cultural evolution.

As such, it interacts with other human activities, for instance, linguistic communication. The communicative domain enriches literature with new constructive principles. In response to these extra- literary factors the self-regulating literary system is compelled to rejuvenate itself constantly. Even though the systemic Formalists incorporated the social dimension into literary theory and acknowledged the analogy between language and literature the figures of author and reader were pushed to the margins of this paradigm.

The figures of author and reader were likewise downplayed by the linguistic Formalists Lev Jakubinsky and Roman Jakobson. The adherents of this model placed poetic language at the centre of their inquiry. As Warner remarks, "Jakobson makes it clear that he rejects completely any notion of emotion as the touchstone of literature. For Jakobson, the emotional qualities of a literary work are secondary to and dependent on purely verbal, linguistic facts" (71).

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).

The principal proponents of the substantivist model were George Dalton and Paul Bohannan. Formalists such as Raymond Firth and Harold K. Schneider asserted that the neoclassical model of economics could be applied to any society if appropriate modifications are made, arguing that its principles have universal validity. For some anthropologists, the substantivist position does not go far enough. Stephen Gudeman, for example, argues that the processes of making a livelihood are culturally constructed.

Page xiii. McPhillips continued, "The New Formalism remains for me a generational movement concerned with purifying poetic diction without ridding it of its inherent lyricism and rendering it more prosaic. By championing a shift back to form, the New Formalists have returned poetry to that wide audience of readers that had abandoned free-verse poetry because it had failed to mirror and trigger their deepest human sympathies."Robert McPhillips (2006), The New Formalism: A Critical Introduction, Textos Books.

Although Gioia writes in both free and formal verse, he is usually classified as one of the "New Formalists", who write in traditional forms and have declared that a return to rhyme and more fixed meters is the new avant-garde. He is a particular proponent of accentual verse."Accentual verse", Dana Gioia While working at General Foods, Gioia wrote in the evenings, producing several books of poetry and translation. Gioia has written several collections of criticisms.

208 The Resolution named six composers (Shostakovich, Sergei Prokofiev, Nikolai Miaskovsky, Aram Khachaturian, Vissarion Shebalin and Gavriil Popov) as 'formalists', damaging their careers and effectively preventing their music being programmed until they 'repented'. Many dismissals were made at the Composers Union and purges there continued under the newly-appointed General Secretary of the Union, Zhdanov's protegé Tikhon Khrennikov.Frolova-Walker (2016), p. 226. It was not until two years after the death of Stalin that the 1948 Resolution was rescinded.

Two British eighteenth century writers were often cited as a reference for narrative literary texts by Russian Formalists i.e. Jonathan Swift’s Gulliver's Travels and Laurence Sterne’s The Life and Opinions of Tristram Shandy, Gentleman (Selden 1997, p. 33). In Gulliver’s Travels, the overt disproportion between the characters i.e. between Gulliver and the Lilliputians, is an example of defamiliarisation from the real world as it draws attention to the unusual size of the characters (Pope 2002, p. 90).

For this reason, formalism has been called 'the official theory of judging'.Posner, How Judges Think, 2008, p.41 Formalists, contrary to Realists, take the judge at face-value, assuming that the facts and principles as recorded in a judge's reasons reflect the facts that the judge considered to be relevant, and the principles that the judge arrived at to reach the judgement. They therefore place little emphasis on the means by which a judge determines the facts.

Leonard B. Meyer, in Emotion and Meaning in Music (1956), distinguished "formalists" from what he called "expressionists": "...formalists would contend that the meaning of music lies in the perception and understanding of the musical relationships set forth in the work of art and that meaning in music is primarily intellectual, while the expressionist would argue that these same relationships are in some sense capable of exciting feelings and emotions in the listener" (Meyer 1956, p. 3). (The term "expressionism" is also used to define a musical genre typified by the early works of Schoenberg. The two terms are not necessarily related.) Meyer applied the term formalist (p. 3) to Eduard Hanslick who, in his later years, championed the music of Brahms over that of Liszt and Wagner because of the clear formal principles (drawn from Beethoven's music) that he found in Brahms's music as opposed to the attempts at emotional expression and pictorial depiction (drawn from Berlioz's music) that he found in the music of Liszt and Wagner.

S. Thompson, 'Form and Function,' P. N. Review, 154. After its last issue in 2004, The Formalist was succeeded by Measure: A Review of Formal Poetry, which is still published biannually by the University of Evansville. Writing in 2006, Robert McPhillips commented, "In the past quarter century, the literary landscape has changed much from when the New Formalists began to publish their earliest work. The New Formalists have become firmly established in the canon of contemporary American literature. There is an entry on the movement (by myself) in The Oxford Companion to Twentieth Century Poetry in English (1994), edited by Ian Hamilton, as well as individual entries on many of the movement's poets. An anthology of poetry, Rebel Angels: 25 Poets of the New Formalism (1996), edited by Mark Jarman and David Mason, established a Canon of some of the strongest poets in the movement. Further anthologies of poems and essays continued to give the New Formalism at once a broader and more cohesive identity than it could have had in 1989."Robert McPhillips (2006), The New Formalism: A Critical Introduction, Textos Books.

On that view, judges never make law, they simply discover pre- existing law and apply it. According to strict formalists, there are no hard cases where the law is silent, or ambiguous, or vague, or contradictory, or couched in broad generalities. Rather, the law is clear, consistent, and complete; all legal questions have a single correct answer; and judges are (in Blackstone's phrase) “living oracles” who deduce inexorable legal conclusions from indisputable legal axioms.Robert Samuel Summers, Instrumentalism and American Legal Theory.

In their critique of Legal Formalism, the Legal Realists argued that the inductive and analogical model applied by the Legal Formalists was logically incoherent; that all law was ultimately a power relationship; and that, therefore, law was basically a form of public policy which should be decided on public policy grounds rather than by recourse to abstract categories like "reason". In 1998, Horwitz published his third book, an encomium on the Warren Court entitled The Warren Court and the Pursuit of Justice.

The term formalism describes an emphasis on form over content or meaning in the arts, literature, or philosophy. A practitioner of formalism is called a formalist. A formalist, with respect to some discipline, holds that there is no transcendent meaning to that discipline other than the literal content created by a practitioner. For example, formalists within mathematics claim that mathematics is no more than the symbols written down by the mathematician, which is based on logic and a few elementary rules alone.

Under Stalin it became a pejorative term for elitist art.Washington.edu Russian formalism was a diverse movement, producing no unified doctrine, and no consensus amongst its proponents on a central aim to their endeavours. In fact, "Russian Formalism" describes two distinct movements: the OPOJAZ (Obshchestvo Izucheniia Poeticheskogo Yazyka, Society for the Study of Poetic Language) in St. Petersburg and the Moscow Linguistic Circle. Therefore, it is more precise to refer to the "Russian Formalists", rather than to use the more encompassing and abstract term of "Formalism".

The formalist theory of art asserts that we should focus only on the formal properties of art—the "form", not the "content".Noël Carroll, Philosophy of Art: A Contemporary Introduction, Routledge, 2012, p. 148. Those formal properties might include, for the visual arts, color, shape, and line, and, for the musical arts, rhythm and harmony. Formalists do not deny that works of art might have content, representation, or narrative-rather, they deny that those things are relevant in our appreciation or understanding of art.

"Nancy Kang and Silvio Torres-Saillant (2018), The Once and Future Muse: The Poetry and Poetics of Rhina P. Espaillat University of Pittsburgh Press. Pages 83-84. Espaillat subsequently took charge of, "teaching the French Forms and the forms of repetition," but also made sure to teach classes in, "the Spanish and Hispanic examples of the forms" such as the décima and the ovillejo." Due to Espaillat's teaching and encouragement, the ovillejo, particularly, has become very popular among younger New Formalists writing in English.

In the assessment of critic James Wood: As a writer, other than a pure stylist, Flaubert was nearly equal parts romantic and realist. Hence, members of various schools, especially realists and formalists, have traced their origins to his work. The exactitude with which he adapts his expressions to his purpose can be seen in all parts of his work, especially in the portraits he draws of the figures in his principal romances. The degree to which Flaubert's fame has extended since his death presents "an interesting chapter of literary history in itself".

' In London Grip (January 2017), John Lucas wrote: 'The late, great Peter Porter once observed that Gregory Woods was probably the most accomplished of contemporary formalist poets, which, if you pause to think where such praise comes from, is not merely a copper- bottomed endorsement but outstandingly generous. And yet it’s no more than Woods deserves. Look on his work, ye formalists, and despair ... [H]is work invites comparison with the best of Robert Graves ... I can't think of any poet who so adroitly manages what is often tricky, even recalcitrant, material.

Meanwhile, attacks by free verse and confessional poets against Formalists like Nemerov, Wilbur, Turco, and Hecht grew ever lounder. According to Baer, "...both meter and rhyme were considered, at best, an outdated aspect of the literary past, or, much worse, a debilitated form of bourgeois or capitalist control. Occasionally, these attacks at their worst and most shrill, even descended into fantastic charges that formal poetry was actually fascist (as William Carlos Williams once delineated the sonnet)..."William Baer (2006), Writing Metrical Poetry: Contemporary Lessons for Mastering Traditional Forms, Writer's Digest Books. Pages 236-237.

The aim of Shklovsky is therefore to isolate and define something specific to literature or "poetic language": these, as we saw, are the "devices" which make up the "artfulness" of literature. Formalists do not agree with one another on exactly what a device or "priyom" is, nor how these devices are used or how they are to be analyzed in a given text. The central idea, however, is more general: poetic language possesses specific properties, which can be analyzed as such. Some OPOJAZ members argued that poetic language was the major artistic device.

" Mark Coleman of Rolling Stone stated: > "There's nothing trendy about this impassive duo, no Steely Dan bites or > bits of Afrodelic rhetoric here. Eric B. and Rakim are hip-hop formalists > devoted to upholding the Seventies funk canon and advancing rap's original > verbal mandate. Almost every track on their third album is built on poetic > boasts and wicked J.B. samples, but dismissing Let the Rhythm Hit 'Em as > some sort of conservative reaction – a gold-chain throwback – completely > misses the point. Masters of their appointed tasks, rapper Rakim and Eric B. > are also formal innovators.

V.V. Vinogradov, Letters to wife, Novy Mir, 1995, No. 1. From the standpoint of linguistics, Vinogradov set out as a good- natured critic of the Russian Formalists: he was on friendly terms with many of them. After moving from Leningrad to Moscow in 1929 he became implicated in the "Slavists conspiracy" and the authorities exiled him to Vyatka in 1934. Two years later, he was allowed to settle somewhat closer to the capital, in Mozhaysk, only to be exiled to Siberia after Hitler's invasion of Russia in 1941.

Neoavanguardia poets and writers were mostly inspired by modernist English language writers such as Ezra Pound and TS Eliot and the Italian poet and iconoclast Emilio Villa. They were opposed to the crepuscolarismo (intimistic view) which had characterized Italian poetry in the 20th century, and, above all, to what they defined as "neo-capitalistic" language. The appearance of the movement generated fierce polemics in the Italian literary world. Neovanguardia artists were accused of being "irrational formalists", "dangerous Marxist revolutionaries", "late Futurists" and the creators of a "renewed Arcadia".

A new generation had initiated obscurantism, continuing from where Asaf Haler Celebi's surrealism had left off in the 1940s. Ilhan Berk perhaps Turkey's most daring and durable poetic innovator, who acted as spokesman for the group (often identified as the Second New) pontificated "Art is for innovation's sake." The forms and values of classical poetry, too, are kept alive by a group of highly accomplished formalists who are clustered mainly around the monthly Hisar which ceased publishing at the end of 1980 after 30 years. His works have been translated into over thirty languages.

Descriptive translation studies aims at building an empirical descriptive discipline, to fill one section of the Holmes map. The idea that scientific methodology could be applicable to cultural products had been developed by the Russian Formalists in the early years of the 20th century, and had been recovered by various researchers in Comparative Literature. It was now applied to literary translation. Part of this application was the theory of polysystems (Even-Zohar 1990Even-Zohar, I. (1990b) "Polysystem theory," Poetics Today 11(1): 9-26 LINK) in which translated literature is seen as a sub-system of the receiving or target literary system.

Opoyaz, the Moscow Linguistic Circle and the Prague Linguistic Circle the predecessors of TMS The group shared an interest in the Russian formalists and in contemporary linguistics, semiotics and cybernetics. During the 1970s prominent members of the group, such as Iu.M. Lotman and B.A. Uspenskii, turned from more theoretical and formalized work to historical studies of culture as a system of semiotic systems. Lotman: The alumni of Moscow University and Leningrad University formed the Soviet school of semiotics as a synthesis of these two traditions in the humanities. To them, a third tradition was added: the University of Tartu.

Formal ethics is related to ethical formalism in that its focus is the forms of moral judgments, but the exposition in Formal Ethics makes it clear that Gensler, unlike previous ethical formalists, does not consider formal ethics to be a complete ethical theory (such that the correct form would be necessary and sufficient for an ethical principle to be "correct"). In fact, the theorems of formal ethics could be seen as a largest common subset of most widely recognized ethical theories, in that none of its axioms (with the possible exception of rationality) is controversial among philosophers of ethics.

When the public views its urban monuments with sidelong glances out of the corners of its eyes, it accepts the monuments as natural and uncoded. By intercepting vision with projections, Wodiczko replaces an unconsidered reception with a critical one.MacQueen, Tactical Response, 120 and Krzysztof Wodiczko, "Designing for a City of Strangers" (1997) in Critical Vehicles: Writings, Projects and Interviews (Cambridge, MA: The MIT Press, 1999), 4-15. This is the lesson of the Russian Formalists, of Bertolt Brecht's Verfremdungseffekt and of Friedrich Nietzsche's understanding of Goethe's belief that knowledge must quicken activity rather than lead to complacence.

It is usually hoped that there exists some interpretation in which the rules of the game hold. (Compare this position to structuralism.) But it does allow the working mathematician to continue in his or her work and leave such problems to the philosopher or scientist. Many formalists would say that in practice, the axiom systems to be studied will be suggested by the demands of science or other areas of mathematics. David Hilbert A major early proponent of formalism was David Hilbert, whose program was intended to be a complete and consistent axiomatization of all of mathematics.

A member of the New Formalists, a group of poets who promoted the use of traditional forms, he has assailed such poets as Allen Ginsberg for what he views as their lack of polish and technique. Bawer was one of the first gay activists to seriously propose same-sex marriage, especially in his book A Place at the Table (1993). While Europe Slept (2006) was one of the first to skeptically examine the rise of Islam in the Western world. Although he has frequently been described as a conservative, Bawer has often protested that such labels are misleading or meaningless.

New Formalism is a literary movement in late 20th- and 21st-century American poetry that promotes a return to rhymed, metrical, and narrative poetry. Since the 1980s, New Formalists have argued that American poetry needs to return to rhyme, regular rhythm, and the telling of non-autobiographical stories. Otherwise, they say, poetry will never again have the readership still enjoyed by novels and creative nonfiction or regain the vital role poetry once played in American culture. New Formalism has always consisted of poets from many different racial and ethnic backgrounds, religious and political beliefs, lifestyle choices, and sexual orientations.

In response, New Formalist poets and critics pointed out the instrumental role played in the Free Verse Revolution by American poet Ezra Pound, an avowed anti-Semite who collaborated with Fascist Italy during World War II and who compared Adolf Hitler to Joan of Arc. Other New Formalists poets and critics accused those intolerant of Formal verse of seeking to impose "Cultural Fascism" upon American literature. In 1986, Michigan State University professor Diane Wakoski denounced New Formalism in print as socially conservative and therefore boring and evil. In the same article, Wakoski compared old Formalist poet John Hollander to Satan.

There will always be groups advocating new types of poetry, some of it genuine, just as there will always be conservative opposing forces trying to maintain the conventional methods. But the revival of rhyme and meter among some young poets creates an unprecedented situation in American poetry. The New Formalists put the free-verse poets in the ironic and unprepared position of being the status quo. Free verse, the creation of an older literary revolution, is now the long-established, ruling orthodoxy, formal poetry the unexpected challenge... Form, we are told authoritatively, is artificial, elitist, retrogressive, right-wing, and (my favorite) Un-American.

Or vice versa. The schema turns political and nasty when form is associated with conservatism and free verse with progressivism, as though Ronald Reagan commanded poets to compose villanelles." Kurp continued, "Baer collects interviews he conducted with first- and second-generation New Formalists, most of whom are squeezed into another convenient pigeonhole, baby boomers: Wyatt Prunty, Dana Gioia, Timothy Steele, Rachel Hadas, Brad Leithauser, Charles Martin, R. S. Gwynn, Frederick Turner, Mary Jo Salter, David Middleton, Dick Davis, Rhina P. Espaillat, and A. E. Stallings. The oldest is Espaillat, born in 1932; the youngest, Stallings, in 1968.

According to this line of argument, the Formalists were accused of being politically reactionary because of such unpatriotic remarks as Shklovsky's (quoted by Trotsky) that "Art was always free of life, and its color never reflected the color of the flag which waved over the fortress of the City" (164). Thus, Trotsky's critique of the Formalist approach to the study of literature, in fact, can be taken as a precursor to the Soviet regime's policy of government control of artistic expression under Socialist Realism.Norbert Francis, The Trotsky-Shklovsky Debate: Formalism versus Marxism.International Journal of Russian Studies 6 (January 2017): 15-27.

As a literary theorist, Bakhtin is associated with the Russian Formalists, and his work is compared with that of Yuri Lotman; in 1963 Roman Jakobson mentioned him as one of the few intelligent critics of Formalism.Holquist Dialogism, p.183 During the 1920s, Bakhtin's work tended to focus on ethics and aesthetics in general. Early pieces such as Towards a Philosophy of the Act and Author and Hero in Aesthetic Activity are indebted to the philosophical trends of the time—particularly the Marburg school neo-Kantianism of Hermann Cohen, including Ernst Cassirer, Max Scheler and, to a lesser extent, Nicolai Hartmann.

Legal formalism can be contrasted to legal instrumentalism, a view associated with American legal realism. Instrumentalism is the view that creativity in the interpretation of legal texts is justified in order to assure that the law serves good public policy and social interests, although legal instrumentalists could also see the end of law as the promotion of justice or the protection of human rights. Legal formalists counter that giving judges authority to change the law to serve their own ideas regarding policy undermines the rule of law. This tension is especially interesting in common law, which depends on judicial precedent.

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.

Gilles Boisvert is of the generation of artists of the sixties, on the verge of the formalists and plasticians and just after the automatists. While in the U.S. Action Painting was just finishing and Pop-Art starting, Boisvert chose to be one of the pioneers of an original art form, closer to people, that would later come to be known as the Quebec Pop-Art movement. Highly prolific and avantgarde, Gilles Boisvert has worked at engraving, lithography, photography, drawing, painting, cinema, installations and sculpture. In addition, in the 1990s, he developed an interest in computer graphics and website design, leading to work in the multimedia field.

Griffiths wrote on a wide array of subjects, in both free verse and traditional forms. Although she often posted at poetry forums popular with formalists, she eschewed such categories, writing, "The division between free and formal verse, as if one is better than the other, bewilders me." Largely ignoring contemporary trends and schools, she was more likely to make imaginative use of voice and setting than to experiment radically with language, and often wrote narrative poems and dramatic monologues in the voices of historical figures and fictional characters. Key themes included pets and animals in the wild; poets and scholars; illness and aging; war; spirituality; and women and sexuality.

In response, Dana Gioia compared Wakoski's denunciation of Formal poetry to the search for a purely Aryan culture by Nazi Party Propaganda Minister Joseph Goebbels. Gioia further suggested "the radical notion" that American poetry consists of whatever poetry the American people are composing. Decades later, The Poetry Wars between poets and critics from both literary movements are still raging in literary journals, in colleges and universities, and on the internet to this day. However,the West Chester Poetry Conference, which was founded in 1995 by Dana Gioia, Michael Peich, and Richard Wilbur, has taught the traditional craft of poetry to multiple generations of younger New Formalists.

841 Among other things, Shklovsky also contributed the plot/story distinction (syuzhet/fabula), which separates out the sequence of events the work relates (the story) from the sequence in which those events are presented in the work (the plot). Shklovsky's work pushes Russian Formalism towards understanding literary activity as integral parts of social practice, an idea that becomes important in the work of Mikhail Bakhtin and Russian and Prague School scholars of semiotics. Shklovsky's thought also influenced western thinkers, partly due to Tzvetan Todorov's translations of the works of Russian formalists in the 1960s and 1970s, including Tzvetan Todorov himself, Gerard Genette and Hans Robert Jauss.

Roman Jakobson had been an active member of the Russian Formalists and the Prague School, before emigrating to America in the 1940s. He brought together Russian Formalism and American New Criticism in his Closing Statement at a conference on stylistics at Indiana University in 1958.Richard Bradford, A Linguistic History of English Poetry, Routledge, 1993, p 8. Published as Linguistics and Poetics in 1960, Jakobson's lecture is often credited with being the first coherent formulation of stylistics, and his argument was that the study of poetic language should be a sub-branch of linguistics.Nikolas Coupland, Style: Language Variation and Identity, Cambridge University Press, 2007, p 10.

It has been claimed that formalists, such as David Hilbert (1862-1943), hold that mathematics is only a language and a series of games. Indeed, he used the words "formula game" in his 1927 response to L. E. J. Brouwer's criticisms: Thus Hilbert is insisting that mathematics is not an arbitrary game with arbitrary rules; rather it must agree with how our thinking, and then our speaking and writing, proceeds. The foundational philosophy of formalism, as exemplified by David Hilbert, is a response to the paradoxes of set theory, and is based on formal logic. Virtually all mathematical theorems today can be formulated as theorems of set theory.

They argued the importance of an encounter with God mediated by the Holy Spirit. They saw the Old Side/Old School as being formalists who fetishized the Westminster Confession and Calvinism. The Old Side/Old School responded that the Westminster Confession was the foundational constitutional document of the Presbyterian Church and that since the Confession was simply a summary of the Bible's teachings, the church had a responsibility to ensure that its ministers' preaching was in line with the Confession. They accused the New Side/New School of being lax about the purity of the church, and willing to allow Arminianism, unitarianism, and other errors to be taught in the Presbyterian Church.

Some formalists would assert that standard set theory is by definition the study of the consequences of ZFC, and while they might not be opposed in principle to studying the consequences of other systems, they see no reason to single out large cardinals as preferred. There are also realists who deny that ontological maximalism is a proper motivation, and even believe that large cardinal axioms are false. And finally, there are some who deny that the negations of large cardinal axioms are restrictive, pointing out that (for example) there can be a transitive set model in L that believes there exists a measurable cardinal, even though L itself does not satisfy that proposition.

06 Adam Kirsch is books… Writing in The Nation, John Palattella describes Kirsch as "the intellectual offspring of the New Formalists." Currently, Kirsch is a contributing editor to Harvard Magazine and Tablet Magazine and the author of the weekly column "The Reader" on Nextbook. He also currently holds the position of senior editor for The New Republic, the publication where he started his writing career. Over the course of his career, he has written reviews and feature articles on a diverse array of poets and novelists, including T.S. Eliot, Thomas Hardy, H.G. Wells, Richard Wilbur, Gerard Manley Hopkins, Dylan Thomas, John Keats, Saul Bellow, John Updike, Hart Crane, and David Foster Wallace.

David Hilbert, a widely- respected German mathematician, suggested that such a conceptualization of human knowledge was too pessimistic, and that by considering questions unsolvable we limit our understanding. In 1900, during an address to the International Congress of Mathematicians in Paris, Hilbert suggested that answers to problems of mathematics are possible with human effort. He declared, "in mathematics there is no ignorabimus," and he worked with other formalists to establish foundations for mathematics during the early 20th century. On 8 September 1930, Hilbert elaborated his opinion in a celebrated address to the Society of German Scientists and Physicians, in Königsberg: Answers to some of Hilbert's Program of 23 problems were found during the 20th century.

At the same time, Sviatoslav Prokofiev noted the typical logic of the Soviet functionary: sometimes Khrennikov could help if it was not dangerous for his own position and career.Valentina Chemberdzhi. Dvadtsaty vek Lini Prokof’evoy (Lina Prokofieva‘s twentieth century). Moscow, 2008, pp. 250, 259-260, 263-264 The ideological campaigns of 1948-49 against "formalists" in music were directly connected with the offensive against the so-called rootless cosmopolitans, which formed a part of the state anti-Semitism in the Soviet Union that flourished after the Second World War in various forms: ideological resolutions, declarations by official writers and critics, offensive caricatures and vulgar anti-Semitic abuse in the satirical magazine Krokodil (Crocodile).

Work considered foundational to the discipline of comparative literature include Spanish humanist Juan Andrés's work, Transylvanian Hungarian Hugo Meltzl de Lomnitz's scholarship, also the founding editor of the journal Acta Comparationis Litterarum Universarum (1877) and Irish scholar H.M. Posnett's Comparative Literature (1886). However, antecedents can be found in the ideas of Johann Wolfgang von Goethe in his vision of "world literature" (Weltliteratur) and Russian Formalists credited Alexander Veselovsky with laying the groundwork for the discipline. Viktor Zhirmunsky, for instance, referred to Veselovsky as "the most remarkable representative of comparative literary study in Russian and European scholarship of the nineteenth century" (Zhirmunsky qtd. in Rachel Polonsky, English Literature and the Russian Aesthetic Renaissance [Cambridge UP, 1998.

New York: W.W. Norton and Company, 2005. 1251-1275. In the early 20th Century, accentual-syllabic verse was largely supplanted by free verse through the efforts of Modernists such as Ezra Pound and Amy Lowell. Nonetheless, some poets, such as Robert Frost, W. H. Auden, Keith Douglas, Robert Lowell, Philip Larkin, Howard Nemerov, James Merrill, Derek Walcott, Geoffrey Hill, Seamus Heaney and Derek Mahon continued to work (though not exclusively) in accentual-syllabic meters throughout the century. Though it has not regained its position of dominance within English poetry, accentual-syllabic verse remains viable and popular in the 21st century, as evidenced by the success of such poets as Richard Wilbur and the various New Formalists.

Burch has been very active in the poetry movements known as New Formalism and Neo- Romanticism. When Kevin N. Roberts founded and launched the poetry journal Romantics Quarterly, he selected five poems by Burch to lead off the premier issue (Winter 2001), and Burch had three or more poems in each of the first eight issues. Burch also encouraged contemporary formalists he had published, such as Richard Moore, Rhina Espaillat, Jack Butler, Annie Finch, A. E. Stallings and Harvey Stanbrough to contribute to Romantics Quarterly. After Romantics Quarterly ceased publication, Burch published a number of the journal's best poems through his literary website The HyperTexts , which has been online for two decades and according to Google Analytics has received more than 9.8 million page views since 2010.

While Maus has been credited with lifting comics from popular culture into the world of high art in the public imagination, criticism has tended to ignore its deep roots in popular culture, roots that Spiegelman has intimate familiarity with and has devoted considerable time to promote. Spiegelman's belief that comics are best expressed in a diagrammatic or iconic manner has had a particular influence on formalists such as Chris Ware and his former student Scott McCloud. In 2005, the September 11-themed New Yorker cover placed sixth on the top ten of magazine covers of the previous 40 years by the American Society of Magazine Editors. Spiegelman has inspired numerous cartoonists to take up the graphic novel as a means of expression, including Marjane Satrapi.

Bordwell has also been associated with a methodological approach known as neoformalism, although this approach has been more extensively written about by his wife, Kristin Thompson.In Neoformalism is an approach to film analysis based on observations first made by the literary theorists known as the Russian formalists: that there is a distinction between a film's perceptual and semiotic properties (and that film theorists have generally overstated the role of textual codes in one's comprehension of such basic elements as diegesis and closure). One scholar has commented that the cognitivist perspective is the central reason why neoformalism earns its prefix (neo) and is not "traditional" formalism. Much of Bordwell's work considers the film-goer's cognitive processes that take place when perceiving the film's nontextual, aesthetic forms.

In order to get a grasp on the motivations which inspired the development of the idea of coordinative definitions, it is important to understand the doctrine of formalism as it is conceived in the philosophy of mathematics. For the formalists, mathematics, and particularly geometry, is divided into two parts: the pure and the applied. The first part consists in an uninterpreted axiomatic system, or syntactic calculus, in which terms such as point, straight line and between (the so-called primitive terms) have their meanings assigned to them implicitly by the axioms in which they appear. On the basis of deductive rules eternally specified in advance, pure geometry provides a set of theorems derived in a purely logical manner from the axioms.

Illustration of a large Pike fly (1865) A major concept in the sport of fly fishing is that the fly imitates some form of fish prey when presented to the fish by the angler. As aquatic insects such as Mayflies, Caddisflies and Stoneflies were the primary prey being imitated during the early developmental years of fly fishing, there were always differing schools of thought on how closely a fly needed to imitate the fish's prey. In the mid to late 19th century, those schools of thought, at least for trout fishing were: the formalists (imitation matters) and the colourists (color matters most). Today, some flies are called attractor patterns because in theory, they do not resemble any specific prey, but instead attract strikes from fish.

Most legal theorists believe that the rule of law has purely formal characteristics. For instance, such theorists claim that law requires generality (general rules that apply to classes of persons and behaviors as opposed to individuals), publicity (no secret laws), prospective application (little or no retroactive laws), consistency (no contradictory laws), equality (applied equally throughout all society), and certainty (certainty of application for a given situation), but formalists contend that there are no requirements with regard to the content of the law. Others, including a few legal theorists, believe that the rule of law necessarily entails protection of individual rights. Within legal theory, these two approaches to the rule of law are seen as the two basic alternatives, respectively labelled the formal and substantive approaches.

Since a formalist model usually states what is to be maximized in terms of preferences, which often but not necessarily include culturally expressed value goals, it is deemed to be sufficiently abstract to explain human behavior in any context. A traditional assumption many formalists borrow from neoclassical economics is that the individual will make rational choices based on full information, or information that is incomplete in a specific way, in order to maximize whatever that individual considers being of value. While preferences may vary or change, and information about choices may or may not be complete, the principles of economising and maximising still apply. The role of the anthropologist may then be to analyse each culture in regards to its culturally appropriate means of attaining culturally recognized and valued goals.

There are two approaches to understanding the relationship of the von Neumann universe V to ZFC (along with many variations of each approach, and shadings between them). Roughly, formalists will tend to view V as something that flows from the ZFC axioms (for example, ZFC proves that every set is in V). On the other hand, realists are more likely to see the von Neumann hierarchy as something directly accessible to the intuition, and the axioms of ZFC as propositions for whose truth in V we can give direct intuitive arguments in natural language. A possible middle position is that the mental picture of the von Neumann hierarchy provides the ZFC axioms with a motivation (so that they are not arbitrary), but does not necessarily describe objects with real existence.

In his work on livelihoods, Gudeman seeks to present the "people's own economic construction" (1986:1); that is, people's own conceptualizations or mental maps of economics and its various aspects. His description of a peasant community in Panama reveals that the locals did not engage in exchange with each other in order to make a profit but rather viewed it as an "exchange of equivalents", with the exchange value of a good being defined by the expenses spent on producing it. Only outside merchants made profits in their dealings with the community; it was a complete mystery to the locals how they managed to do so. Gudeman also criticizes the substantivist position for imposing their universal model of economics on preindustrial societies and so making the same mistake as the formalists.

Russian formalism is distinctive for its emphasis on the functional role of literary devices and its original conception of literary history. Russian Formalists advocated a "scientific" method for studying poetic language, to the exclusion of traditional psychological and cultural- historical approaches. As Erlich points out, "It was intent upon delimiting literary scholarship from contiguous disciplines such as psychology, sociology, intellectual history, and the list theoreticians focused on the 'distinguishing features' of literature, on the artistic devices peculiar to imaginative writing" (The New Princeton Encyclopedia 1101). Two general principles underlie the Formalist study of literature: first, literature itself, or rather, those of its features that distinguish it from other human activities, must constitute the object of inquiry of literary theory; second, "literary facts" have to be prioritized over the metaphysical commitments of literary criticism, whether philosophical, aesthetic or psychological (Steiner, "Russian Formalism" 16).

The background for the controversy was set with David Hilbert's axiomatization of geometry in the late 1890s. In his biography of Kurt Gödel, John W. Dawson, Jr summarizes the result as follows: "At issue in the sometimes bitter disputes was the relation of mathematics to logic, as well as fundamental questions of methodology, such as how quantifiers were to be construed, to what extent, if at all, nonconstructive methods were justified, and whether there were important connections to be made between syntactic and semantic notions."Dawson 1997:48 Dawson observes that "partisans of three principal philosophical positions took part in the debate" – the logicists (Gottlob Frege and Bertrand Russell), the formalists (David Hilbert and his "school" of collaborators), and the constructivists (Henri Poincaré and Hermann Weyl); within this constructivist school was the radical self-named "intuitionist" L.E.J. Brouwer.

The main argument of his book is that in the first half of the 19th century, many judges self- consciously allied themselves with a rapidly growing class of mercantile capitalists and promoted a series of legal rules which favored those capitalists. In The Transformation of American Law, 1870-1960: The Crisis of Legal Orthodoxy (1992), the sequel to his first book, Horwitz focused on the critics of the system which he described in his first book, especially Oliver Wendell Holmes, Roscoe Pound, and Karl Llewellyn. He frames this change in the law as a debate between "Legal Formalists" and "Legal Realists". He argues that in this period, the victors from his first book tried to present the current state of the law as the natural and necessary consequence of the application of the rules of reason.

He urged his only remaining students, those at Bread Loaf for two weeks each August, to learn how to write within the tradition before abandoning it in favor of undisciplined, improvisational free verse. Ciardi was unceremoniously fired from Bread Loaf in 1972, after serving seventeen years as director, and not having missed a single year on the poetry staff since 1947. Over the past quarter century, John Ciardi has come to be regarded as a mid-level, mid-century formalist, one who was replaced in literary history by the more daring and colorful Beat, Confessional, and Black Mountain poets. However, with revisionism chipping away at the reputations of the latter groups, and the emergence of Dana Gioia and the New Formalists in the late 20th century, Ciardi's type of mostly understated verse, his work is much more culturally relevant than it once was.

Film scholar Mark Cousins notes in his book The Story of Film that, "Next to Orson Welles and Alfred Hitchcock, Leni Riefenstahl was the most technically talented Western film maker of her era". When traveling to Hollywood, Riefenstahl was criticized by the Anti-Nazi League very harshly when wanting to showcase her film Olympia soon after its release. Reviewer Gary Morris called Riefenstahl, "An artist of unparalleled gifts, a woman in an industry dominated by men, one of the great formalists of the cinema on a par with Eisenstein or Welles". Time, 1936 Film critic Hal Erickson of The New York Times states that the "Jewish Question" is mainly unmentioned in Triumph des Willens; "filmmaker Leni Riefenstahl prefers to concentrate on cheering crowds, precision marching, military bands, and Hitler's climactic speech, all orchestrated, choreographed and illuminated on a scale that makes Griffith and DeMille look like poverty-row directors".

Cultural semiotics has developed from linguistic semiotics via text semiotics towards the semiotics of semiosphere. 1st Phase Cultural semiotics started from the realization that in a semiotical sense culture is a multilanguage system, where, in parallel to natural languages, there exist secondary modelling systems (mythology, ideology, ethics etc.), which are based on natural languages, or which employ natural languages for their description or explanation (music, ballet) or language analogization ("language" of theatre, "language" of movies). The Soviet semiotics is rooted in tradition developed not by pure linguists, as it has been in Europe, and especially in United States, but also on ideas produced by literary scientists, especially in the OPOYAZ, Moscow Linguistic Circle and other formal and informal groups of the twenties combined both linguistic and literary interests. TMS that developed in sixties sought actively incorporate elements of formalists legacy, but as not a simple revival of formalist.

An accusation of Zionism was often used as a weapon against people of different nationalities, faiths and opinions, such as Nikolai Roslavets. "Struggle against formalists" was pursued in other countries too: according to György Ligeti, after Khrennikov's official visit to Budapest in 1948, The Miraculous Mandarin by Béla Bartók was removed from the repertoire and paintings by French impressionists and others were removed from display in museums. In 1952 Ligeti was almost forbidden to teach after he had shown the score of the proscribed Symphony of Psalms by Igor Stravinsky to his students; Ligeti was saved only because of the personal protection of Zoltán Kodály."Ich sehe keinen Widerspruch zwischen Tradition und Modernität!". "György Ligeti im Gespräch mit Marina Lobanova": Das Orchester 12/1996, pp. 10-11. Khrennikov and other functionaries of the Composers‘ Union constantly attacked the heritage of the Russian avant-garde as well as its researchers.

The New Princeton Encyclopedia of Poetry and Poetics (Princeton University Press, 1993) grouped Corn with poets who came to be known as the “New Formalists” (see New Formalism) but Corn has never appeared in the anthologies associated with this group. A noticeable percentage of his poetry uses meter, rhyme, and verseform, and he has written a widely circulated introduction to English-language prosody, The Poem’s Heartbeat. The critic Robert K. Martin, in his The Homosexual Tradition in American Poetry (1979, revised 1998) placed Corn's poetry in a line that begins with Whitman and continues through Crane, Merrill, and Thom Gunn to the present; and Corn has appeared in several anthologies of gay poetry such as The World In Us (2000). But he has also appeared in more general anthologies such as The Norton Anthology of Poetry (Fourth and Fifth Edition, 1996 and 2005) and The Making Of a Poem (Mark Strand and Eavan Boland, 2000).

It is important to note that this movement was especially hostile to the so-called British empirical school derived from Hume, and to which Jeremy Bentham, Austin and John Stuart Mill adhered. For while it is true that these thinkers were positivist and anti-metaphysical they were for the anti-formalists, not empirical enough, since they were associated with a priori reasoning not based on actual study of the facts, such as Mill's formal logic and his reliance on an abstract "economic man," Bentham's hedonic calculus of pleasures and pains, and the analytical approach to jurisprudence derived from Austin. They were particularly critical of the ahistorical approach of the English utilitarians. Nor, unlike the sociologists of Pound persuasion, were they interested to borrow from Bentham such abstract analyses of society as his doctrine of conflicting to emphasise was the need to enlarge knowledge empirically, and to relate it to the solution of the practical problems of man in society at the present day.

There has been expressed the idea that a combined set of motifs (in the motif-index) may constitute a folktale narrative (cf. the description of the Motif-Index as "a huge catalogue of folk narratives elements that may variously combine to form whole folk narratives" by Jan Harold Brunvand). This idea had already been anticipated by Alexander Veselovsky who wrote that "cluster of motifs" constituted a "plot", influencing Russian formalists like Vladimir Propp, whose study prefigured Stith Thompson's Motif-Index, as has been pointed out.Benson (1999: 23–24, 252–253 n9, 10) In the book The Folktale, Stith Thompson invokes this phrase "cluster of motifs" in several passages, as here, in connection with tales involving the dead helper: :The chain of circumstances by which this helper joins the hero and certain details of his later experience are so uniform and well articulated as to form an easily recognizable motif, or rather cluster of motifs.

In 1949, the Society of Romanian Composers was dissolved and replaced with the Romanian Composers' Union. Some composers, considered reactionaries, collaborators with the previous fascist regimes, and formalists were excluded from the new organization: Mihail Jora, Ionel Perlea, Stan Golestan, Dinu Lipatti (dubbed "a fascist who vegetates far from his country"), Tiberiu Brediceanu, and Dimitrie Cuclin. Of George Enescu's works, only his two Romanian Rhapsodies were performed; certain composers like Richard Wagner were no longer played in concert or on the air; religious-themed music was no longer played; while jazz was labelled an expression of American imperialism, on the same level as chewing gum and Coca-Cola. The head of the Union was Matei Socor (later Director of Radio Transmission and permanent Director of the Symphony Radio Orchestra), who wrote the music for Communist Romania's first two national anthems, "Zdrobite cătuşe" (1948; words by Aurel Baranga) and "Te slăvim, Românie" (1953; words by Eugen Frunză and Dan Deşliu).

In the 1970s, some scholars moved away from the solely linguistic theory adopted by the Russian Formalists and started acknowledging the role of the reader to establish a theoretical discipline. Many of these scholars, which included Jonathan Culler, Stanley Fish, Umberto Eco to name a few, stated that literariness cannot be defined solely on the basis of linguistic properties found within a text but that the reader is also a crucial factor in the construction of meaning (Zwaan 1993, p. 8). They acknowledged the fact that foregrounding is a feature of poetry, however, claimed that language structures such as foregrounding can also be found in ordinary texts e.g. advertisement. Jakobson agrees that such poetic functions can be found in any text but argues that the dominance of those functions over other functions is what makes a text a poetic text (Pilkington 2000, p. 19). Although this justification was accepted by later scholars, Jakobson’s theory was still not perceived as a perfectly acceptable condition for the separation of literary from ordinary texts.