Telling in Time (III): Chronology, Estrangement, and Stories of Literary History
نویسنده
چکیده
Trumpeted as the artistic hallmark, central to Russian Formalism, and persistent ever since, estrangement yet remains an ill-defined term.We have nothing like a comprehensive approach to it, equipped to specify its workings by kind, medium, art form, discourse level, historical context. Narrative, Shklovsky’s own forte, would appear the paradigm case, as the most inclusive genre and the most akin to art’s and life’s temporal movement. I accordingly revisit ‘‘making strange,’’ with its branches and afterlives, from the viewpoint of narrative theory and history—especially in relation to my account of narrative dynamics, in this ‘‘Telling in Time’’ series and elsewhere. Above all, given Shklovsky’s perceptual emphasis, does his master effect constitute the genre’s universal, overlapping and/or rivaling the dynamics of prospection (‘‘suspense’’), retrospection (‘‘curiosity’’), and, especially, recognition (‘‘surprise’’)?Or is it only a pretender to the title, a fortiori to literature’s and art’s supreme value and
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