俄国形式主义者也是这样想的。
这其实才是俄国形式主义者们隐含的观点。
俄国形式主义者并不是对，所有的新奇都感兴趣。
The newness that the Russian formalists are interested in is not just any newness.
它受到俄国形式主义的文学自主性和陌生化理论的直接影响。
The theory is directly influenced by the theories of literary autonomy and defamiliarization of Russian formalism.
“文学性”与“陌生化”是俄国形式主义理论精髓的集中体现。
Literariness and Estrangement are the focuses and embodiments of Russian formalism literary theory.
由于有后一种美学基础，俄国形式主义批评就具有科学实证的特点。
The latter has made scientific positiveness a feature of Russian formalistic criticism.
“陌生化理论”来自于俄国形式主义，是布莱希特戏剧理论的代名词。
"The Alienation theory" came from Russian Formalism, which is the synonym of Brecht's theatre theory.
“陌生化”是俄国形式主义的核心概念，是“形式主义方法”的原则。
"Bestrangement" is the core concept of Russian Formalism and principle of Formalism Method.
“文学性”与“陌生化”是俄国形式主义批评流派提出的两个重要概念。
Literariness and defamiliarization are two importance concepts advanced by the critical Russian formalism.
俄国形式主义与解构主义在20世纪一头一尾先后提出“文学性”问题。
The term was used by Russian formalists at the beginning of the 20 th century and by deconstructionists at the end of the century.
俄国形式主义者进行诗歌创作偏重语词的扭曲、变形所带来的陌生化效果。
Russian formalists put their attention to the strange effect from those distorted and deformed words.
我们立马遇到了“陌生化“这个词，当我们开始读俄国形式主义者的作品时。
The word "defamiliarization" we will encounter soon when we take up the Russian Formalists.
雷·韦勒克的文学理论，继承了俄国形式主义、布拉格学派和茵加登现象学美学的理论。
Wellek's theory was shaped by the theories of Russia Formalism and Prague School and Ingarden's aesthetic theory.
新的美学视界产生了，文本就已不同的方式重新组织了，正如俄国形式主义者，与姚斯的历史规则一致的看法。
A new aesthetic horizon emerges, and texts are constituted in a different way, much also as the Russian formalists have said, only with the sense in Jauss of the historical imperative.
摘要俄国形式主义出于对传统文学研究的不满，提出“文学性”的问题，并以“陌生化”作为解答。
Not contented with traditional literary research, Russian formalism puts forward the notion of "literariness," and offers "defamiliarization" as a solution.
“陌生化”是俄国形式主义学派的代表理论，认为“文学性”在于使熟悉的事物感知和语言表达陌生化。
Defamiliarization is the representative theory of Russian formalism, which believes the task of literature is to defamiliarize the familiar perception and language performance.
巴赫金在这部著作中集中批判了俄国形式主义否认文学对现实的评价关系、漠视文学语言的意义的理论偏失。
In the work Bakhtin concentrated his criticism on Russian Formalists' failures of denying the function of literary evaluation towards reality and neglecting the meanings of literary language.
俄国形式主义者关于短篇小说的定义、结构、情节、结尾和叙事手法等方面的研究前所未有且具有现实意义。
Formalists research on the definition, structure, plot, ending and narration of short story is unprecedented and it has realistic significance.
艾肯·鲍姆总谈论，堂吉诃德，果戈理的外套是是怎么塑造的-，这反映了俄国形式主义者，对文本组合方式的执着。
Those titles that Eikhenbaum keeps talking about -how Don Quixote was Made, how Gogol's Overcoat was Made - reflect the preoccupation of the Russian formalists with how literature is put together.
注意这个词的重要性，我们还会讲到，支配，这个词：，俄国形式主义者所说的支配，和物种间争夺栖息地的支配。
Notice the importance -and we'll come back to it-- of the word "dominant": "the dominant" in the thinking of the Russian formalists and the struggle for dominance among species in a habitat.
当我们开口说话，那是完全地专门地为了交流-，没有任何其它动机，除了一件事，也就是俄国形式主义者特别注意的。
When we speak, that is - -entirely and exclusively and without any other motive - for communication, except for one thing that the Russian formalists in particular took note of.
本章的定位自然而然引带出俄国形式主义的中心观念“陌生化”作为理论观照，两诗人分别从词语陌生化的角度接受审视。
Thus oriented, this chapter naturally comes in the light of Russian Formalism, with particular reference to "defamiliarization", the central concept of this literary critical thinking.
本文的理论支持主要来源于三个方面，分别为：可译性的相关理论，俄国形式主义学派的文学批评理论，以及读者接受美学理论。
The theoretical foundation is established on the basis of the related theories on the general translatability, the Russian formalist literary criticism, and the reader's reception aesthetics.
在对小说文本进行分析的基础上，尝试运用俄国形式主义学派的“陌生化”手法解读桑提亚哥这一人物形象塑造的新颖、奇特之处。
On the basis of the textual analysis of the novel, V-effect of character depiction from Russian formalism is used to explore the novelty and peculiarity of the depiction of Santiago.
结构主义与俄国形式主义和新批评所不同的是，它从宏观的角度，发掘纷繁复杂的表象之下的同一模式，从而揭示出作品的深刻意义。
Distinguishing from the others, Structuralism explores the common model under the various appearances from the macroscopic perspective, and discovers the profound meaning of the works.
俄国并不是一座思想的废都，形式主义者是思想界很重要的一个部分。
This is not a wasteland of thought by any means, and the Russian formalists are an important part of what's going on.
这当然是我反复地，以经验主义方式研究的，因为这些都是语言的经验主义的事实，正如俄国，形式主义者坚持的。
This, of course, is what we've studied recurrently and, I have to say, empirically because these are all empirical facts about language, as the Russian formalists insisted.
也就是说，我们知道形式主义者们对图像非常着迷，但是这不代表俄国的形式主义者们不能善用图像。
In other words, of course the academicians and the Symbolists were obsessed with imagery, but that's not to say that a Russian formalist can't deal with imagery.
也就是说，我们知道形式主义者们对图像非常着迷，但是这不代表俄国的形式主义者们不能善用图像。
In other words, of course the academicians and the Symbolists were obsessed with imagery, but that's not to say that a Russian formalist can't deal with imagery.
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