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 Russian formalist  :

Defamiliarization A principle associated with RUSSIAN FORMALISM which asserts that one function of art and literature is to disturb its audience’s routine perception of reality. The term (in Russian ostranenie) was coined by the critic Viktor Shklovsky, who argued that in disrupting our everyday sense of what is real and important, art puts us in touch with our deepest experiences. The tech niques of defamiliarization include placing characters and events in unfamiliar contexts, FOREGROUNDING dialects and slang in formal poetry, and employing unusual imagery.

(QUINN, 2006 p 112)

Carnival A term used by the Russian theorist Mikhail Bakhtin to explore the subversion of authority and offi cial culture in popular entertainment and festi vals. Using the medieval carnivals—celebrations such as the Feast of Fools or Mardi Gras—as his prime example, Bakhtin argues that the bawdy, irreverent, scatological humor of these festivals testifi ed to a rejection of the dominant medi eval IDEOLOGY of church and state. For Bakhtin the impulse to carnival, essentially an impulse to freedom, is refl ected best in its literary form in the NOVEL. He sees the novel as rooted in the democratic world of the carnival where everyone, regardless of how eccentric, has a voice. This babble of voices, which Bakhtin calls HETEROGLOSSIA, character izes a certain type of novel (exemplifi ed by Dostoevsky) in which the full range of human nature is revealed.