KEY DIFFERENCES IN

RUSSIAN FORMALISM
AND NEW CRITICISM
 RUSSIAN FORMALISM

• Defamiliarization (Ostranenie): Russian Formalists believed that literature's primary function is to

make the familiar strange, or defamiliarize ordinary language and perceptions. By doing so, literature
prompts readers to see the world in new and unexpected ways.
• Literariness: Formalists emphasized the unique features that distinguish literary language from
everyday language. They believed that literary texts possess specific literary devices and techniques
that set them apart from non-literary texts.
• Foregrounding: Formalists introduced the concept of foregrounding, which refers to the use of
linguistic or literary devices to bring certain elements of a text to the forefront of the reader's
attention. Foregrounding helps create literary effects and emphasizes the aesthetic qualities of the
text.
• Plot vs. Story: Russian Formalists distinguished between plot (fabula) and story (sjuzhet). The
plot refers to the chronological sequence of events in a narrative, while the story refers to the
arrangement and presentation of these events in the narrative discourse.
• Literary Evolution: Formalists believed that literature evolves over time, and they were
interested in studying the historical development of literary forms, genres, and techniques.
• Literary Devices and Techniques: Russian Formalists focused on analyzing the specific
literary devices and techniques employed by authors, such as imagery, metaphor, irony, and
narrative structure. They believed that these formal elements were essential to understanding
the artistic qualities of a literary work.
• Autonomy of Literature: Formalists argued for the autonomy of literature as a distinct
form of art with its own laws and principles. They rejected the idea that literature should
be evaluated based on its social or political significance and instead emphasized the
importance of studying literature as an independent aesthetic phenomenon.
• Objective Analysis: Formalist criticism aimed to be objective and systematic in its
analysis of literary texts. Formalists sought to develop rigorous methods of literary
analysis that could be applied consistently across different texts and genres.
 NEW CRITICISM

• Close Reading: New Critics believed in examining the text itself closely, focusing on the
language, imagery, symbolism, and structure within the work.
• Textual Integrity: They emphasized the importance of the text's autonomy, arguing that
the meaning of a literary work should be derived solely from the text itself, rather than
from external factors such as the author's biography or historical context.
• Intentional Fallacy: New Critics rejected the idea that the author's intention should
determine the meaning of a text. Instead, they argued that the meaning of a work should
be derived from the text itself, independent of the author's intentions.
• Affective Fallacy: Similarly, New Critics criticized the idea that the reader's emotional
response to a text should determine its meaning. They believed that the meaning of a
literary work should be based on its formal qualities and not on the reader's subjective
reactions.
• Paradox: New Critics often explored paradoxes and tensions within literary works,
seeing them as integral to the complexity and richness of literature.
• Unity and Coherence: They valued unity and coherence within a literary work, believing
that all elements of the text should contribute to its overall meaning and effect.
• Ambiguity: New Critics recognized and appreciated the presence of ambiguity within literature,
viewing it as a source of multiple interpretations rather than a flaw to be resolved.
• Irony: They often examined the use of irony in literature, recognizing its ability to convey
complex meanings and provoke thought.
• Symbolism and Imagery: New Critics paid close attention to symbolism and imagery within
literary works, analyzing how these elements contributed to the work's overall meaning and
significance.
• Formalism: New Criticism can be seen as a form of formalism, which prioritizes the analysis of a
work's form, structure, and style over its historical or biographical context.