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.
形式主义者说语言普遍现象是人类生理遗传；
The formal camp say linguistic universals are men's biological inheritance;
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.
所以，他们感兴趣的仍然是解释学，但是形式主义者对，阐释和含义不感兴趣。
So they are still engaged in the hermeneutic enterprise in interpretation the formalists are really relatively indifferent to questions of meaning and to questions of interpretation.
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.
形式主义者强调色彩、线条、形状和纹理这类的构成元素，而不是现实、背景和内容。
Formalism emphasizes compositional elements such as colour, line, shape and texture rather than realism, context, and content.
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.
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.
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.
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.
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.
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.
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.
形式主义者、浪漫主义者和两代美国高中学生已搜索的TheNorthwestPassage似乎并不存在。
The Northwest Passage that the Mannerists, the Romantics, and two generations of American high school students have searched for does not seem to exist.
我想这就是形式主义者,和伊瑟尔的不同了，尽管大家对于我们这堂课有很多展望，对于我们现在的学习也有很多期待。
That is, I think, essentially the difference between what we have been talking about so far, even though there have been a variety of outlooks, and what we are talking about now.
说到作曲家，现代主义者如贝拉·巴托克是僧侣似的、形式主义的，而后现代主义者如约翰·亚当斯则是顽皮的、精于解构的。
As for composers, modernists like bela bartok were hieratic and formalist, and postmodernists, like John Adams, were playful and interested in deconstructing.
说到作曲家，现代主义者如贝拉·巴托克是僧侣似的、形式主义的，而后现代主义者如约翰·亚当斯则是顽皮的、精于解构的。
As for composers, modernists like bela bartok were hieratic and formalist, and postmodernists, like John Adams, were playful and interested in deconstructing.
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