Shklovsky, one of the founders of the Formalist study group, believes the nature of literature is their form, which comprises all literary devices and techniques, artistic materials and defamilization of forms are the essential characteristics of literature. Influenced by new opinions of Ferdinand de Saussure on linguistics, Shklovsky analysed this technique from the linguistic viewpoint.
To introduce and spread the concept of defamilization, which turns something that has become over-familiar into something reactivated, Shklovsky gave several examples to illustrate perception has become unconsciously automatic, he took it as a retreat of our habits. And he thought over-automatization of an object, the greatest economy of perceptive effect could impede our entire comprehension of objects.
In this essay, I noticed a sentence “…if the whole complex lives of many people go on unconsciously, then such lives are as if they had never been.” I once saw a similar sentence “It never happens when something real had been forgotten”, people try hard to recollect scenes of the past when they look back, they are apt to forget routine matters which happen around them every day because of unconsciousness. To reverse this trend of modern living, Shklovsky proposed a technique of art which makes objects “unfamiliar”. Art is extracted from life, but superior to life in many respects. Art, as an essential method of writing, makes real objects look different through images and modes of expressions, then unexpected results are fed back to readers.
Shklovsky cited several Tolstoy’s passages to explain his theory. The first method is using different words to replace familiar names. Author has to use more words to explain an act or a phenomenon, this seems a little bit tedious and complicated, readers will notice other parts then the greatest possible effect will be produced. Such like that harsh example of flogging, it’s a typical Tolstoy’s way of pricking the curiosity and conscience of readers.
Personally, I prefer the second method of estrangement, authors make a story from different point of view. First of all, a story made from special angle of view intrigues people into reading it. Secondly, it’s easier for us to accept a totally different opinion. Specifically, people won’t have an attitude of exclusion towards “different arguments” of a horse, but they tend to refute the same argument from a person. This horse thought it was incorrect that people think animals should be naturally possessed by human being. People are guided by words, not by deeds in life, their instinct is narrow. I totally agree to what this horse has said, correct ideas are not innate in the mind, people seldom dare to face squarely their problems and they are unwilling to acknowledge their shortcomings and responsibilities.
Shklovsky cited Tolstoy’s other passages to show how common the method of narrative is used, seeing things out of their normal context makes writings more impressive. Many people considered it blasphemy to present as monstrous what they accepted as sacred, in my opinion, they merely declined to approve those habitual things in an unfamiliar way.
The third method used mainly in poetic speech is using artistic trademark as a way of lingering to impede perception; making the language appear strange, intricate and roughened. Sometimes, foreign languages, archaism and popular language, even dialects are new devices to create a properly poetic language. Speaking of the rhythm of poetry, which is totally different from the rhythm of prose— an essential automatizing element, the adjustment of poetry rhythm orders are necessary as well, even if it would not have too much effect for the roughening of language, the unpredictable disordering of rhythm should become a convention, anyway.
In brief, Shklovsky developed the critical theories and techniques of Russian Formalism. The concept of “defamilization” creates a special perception of objects, it’s an innovative writing technique which produces a great influence on theories of literature and the study of modern Russian poetic language.