Perception of works of V. Shklovsky in China
- Authors: Liu M.1, Koltsova N.Z.1
- Lomonosov Moscow State University
- Issue: Vol 24, No 3 (2019)
- Pages: 462-476
- Section: Comparative Studies
- URL: https://journals.rudn.ru/literary-criticism/article/view/22341
- DOI: https://doi.org/10.22363/2312-9220-2019-24-3-462-476
The article is devoted to studying the long-term dissemination and perception of Viktor Shklovsky's works and ideas in China from the 1930s to 2010s, while providing a brief overview of the scientific articles of Chinese Russianists, who played a key role in studying the heritage of Shklovsky conceptual apparatus in Chinese literary criticism. Particular attention is paid to the category of estrangement, firmly included in Chinese literary studies and widely used in the analysis of works of Chinese literature and cinema, have been considered such concepts of Russian formalism as literary character, reception, since the early 80s of the 20th century adopted by the science of China. The article emphasizes that the history of the perception of the theoretical views of V. Shklovsky in China includes several stages, while a true study of his works, like Russian formalism in general, begins only in the 1980s of the 20th century. The artworks of Shklovsky in China began to pay attention only to the XXI century.
About the authors
Miaowen LiuLomonosov Moscow State University
Author for correspondence.
Ph.D. student of the Department of Modern Russian Literature and Contemporary Literary Process of Lomonosov Moscow State University1 Leninskie Gory, Moscow, 119991, Russian Federation
Natalia Z. KoltsovaLomonosov Moscow State University
Candidate of Philological Sciences, Associate Professor at the Department of Modern Russian Literature and Contemporary Literary Process of Faculty of Philology of Lomonosov Moscow State University1 Leninskie Gory, Moscow, 119991, Russian Federation
- Du Fu. Project of Natalia Azarova. Moscow: OGI Publ., 2012. 296 p.
- Erlich V. Russian Formalism. Saint Petersburg: Academic Project Publ., 1996. 351 p.
- Jacobson R.O. The Newest Russian Poetry  // Jacobson R.O. Works on poetics. Moscow: Progress Publ., 1987. 462 p.
- Ding Guoqi. Defamiliarization and time: two basic concepts of the late literary thoughts of V. Shklovsky // Journal of the Yellow River Science and Technology University. 2002. No. 4. Pp. 66–71.
- Fan Shan. The Theory of Literature of Formalism. Jinan: Shandong Educational Publishing House, 1999. 319 p.
- Li Fanhui. The Theory of Formalism in Early Soviet Literature and Art // Soviet Literature. 1983. No. 4. Pp. 80–86.
- Qian Jiaoru. Defamiliarization and Literariness: Two Main Theoretical Pillars of Early Russian Formalism // Foreign Literature Review. 1989. No. 1. Pp. 26–32.
- Qian Zhongshu. Notes on Literature and Art. Shanghai: China Publishing House, 1984. 706 p.
- Tao Dongfeng. View of Russian Formalism on the History of Literature // Foreign Literature Review. 1992. No. 3. Pp. 97–104.
- Wang Jiezhi. Reception of Russian Formalism in China // Chinese Comparative Literature. 2005. No. 3. Pp. 169–180.
- Zhang Bing. Poetics of Defamiliarization: The Study of Russian Formalism. Beijing: Publishing House of Beijing Normal University, 1999. 324 p.
- Zhang Bing. Defamiliarization and Montage: A Review of Russian Formalist Film Aesthetics // Russian Literature & Art. 2013. No. 2. Pp. 144–150.
- Zhang Bing. The Aesthetics of the Diff between Qian Zhongshu and the OPOZAZ: About the Path and Method of Literary Comparative // Journal of China University of Political Science and Law. 2013. No. 2. Pp. 138–147.