Second.Phase.

SECOND PHASE OF THE RUSSIAN FORMALISM
            Since 1920 there is a umbalance, between the Moscu center and Opojaz. Jakobson left to Praga. In ST.Petesburgh is created a Department of the history of the literature within the institute of art history , that integrates a department of history of literature. The formalists had a enormous prestige provoked by all the years of war. But in 1920 were introduced other tendencies as the Marxists. In this institution are integred formalists as: Slovsky, Eikenbaum, B.Tomacevsky and are added other more, younger as Beluxati, and Tynjanov and other ones as Engelhasdt, and Gukovsky. There are also other figures that are formalists but they are not young, teachers, people that are not at the beginning with the formalists, but after are added. are for example: Vinogradov and Zirmunsky. The main features of this formalism are the next ones: continuation and development of the same preceding concepts, revision of formuled postulates, and ampliation of the study. In the last years of the Formalism were published some of the works that study the evolution of this metodology. In 1925 B.Tomacevsky published a book which grouped a great part of the theorization, the book was called Literary theory, the topic took the theory of Schklovsky that was systematized more. The metodology of Tomacevsky is the succesive division, it has a thema and is being divided in sub-themes that should be dividing in a more concrete themes until it could be divided more and it arrives to the motives.The motives are classified in statics and dinamics. Statics: do not make the action go, and dinamics: the actions of the characters make the plot action go. All the motivations are organized in a cronological and causal chain which is the fable and Sjuzet, which is the literary ordenation. The motivation is the relation between the material and the procedures, the relation between the motives and the "Trama" (Sjuzet). There are three types of motivation: Compositive, when the appearance of the motive is justified by the development of the "Trama", they are necessary for the development of the "Trama", Realist: is justify the appearance of a motive by the necesity of creation of a versemblance effect to the narrative "Trama", Esthetic: Any motive which is in any motive creates an esthetic effect.
            In 1928, V.Propp published "The morphology of the tale". V.Propp did not integrated within the formalism, but he was an student of the oral traditions, but he used the formalist metodology and developed and adapted it. Propp made a concrete adaptation of the popular tales. He took a tale corpus and studied what are the constant of that tales, because there is a basic structure in all of them.
First of all he distinguishes the variable elements, the noun Ivan, external circumstances, but there is a constant context.
In order to study the constant elements he defined the concept of funcion, which he adapted to the concept of motive, some of the constant motives of the tale passed to be functions. Function: action of a character from the point of view of his interest for the development of the intrigue. That functions are the same than in all the tale collection, every function had a number a letter and a denomination and in every tale are the same functions and in the same order, they are not all, sometimes but some of them are present, but some of them they are not present. Sometimes there are elements before of the function that they write with the letters of the Greek alphabet, which are more descriptions and actions.
            The study of the characters is very important, he distinguishes two bands, that elements which changes (nouns and atributes), and the characters as a making of actions, are the abstract categories which noun the espheres of actions, is a functional entity and abstract. There are seven action espheres which are more constant and are present in every tale: the hero, the boss, agressor, false hero, the princess and her father, the helper.
            One of the parts more important of the second formalism is the one of the new concepts and the modification of the new ones. One of the central questions is the one which was developed in the literary work as "Holistica" so a conjunct and not as a sum of the resources as Sklovsky at the beginning. He started to study some questions more fragmentary (resources) to study the way it functions the arquitechture of a work, that resources have a funtion in that conjunct. The total sum of the resources of Sklovsky was stablished by the concept of a esthetic system in which that resource must develop a certain function. The estatic proximity of the literary work supposed to the nocion of the style as a concept of dynamic integration. V.Erlich.
            Identify and describe a constructive resource is only a part of the critic work, and the other part is more essential and in any case is to determine the specific function of the artistical resource in every particular case. This way, the concept of function is born up which implies a relational conception, every resource does not has a value itself, but by the conjunt of the system, this function is not a constant, is not always for the same resource, it depends of the context of the society, and it varies at the same time than the literary theory. the same resource can express comicity in a determined moment and in other tragedy. This implies to jerarquize the functions of a text, to stablish how some depends in other and how in a work is going to appear a function which is making a conjunt (Dominant function) which configures the general sense of the work. The formalism passed to be Structuralism. They tried to study the literary history through the intrinsecal mechanisms of the literary work. not as a external history of authors of works which are being made, but as the history of a literary element of the resources, of the styles and the relation that there is in that elements, of the functions which developes any of that elements and the explanation of the literary change and as a change of the functions and the change of dominants.
In that via are being made all of the net of relations between the literary theory and other disciplines, so between the literary theory and other disciplines, for example between the literary theory and the lisguistics, the relation between them is becoming more complex in the way that the relation between the poetical language and the communicative can be seen as a dinamic relation of mutual interactions and not authomatic as they used to make. The functions of the language can be observed in a group in a literary work and varies of these functions could be in dynamic relation between them, but there could be one which predomines above the others. This concept of function is in relation with the function of the language. In a text which is not poetical, it could be that the poetical function is present.
At the same time in the midle of the poetical language, study to an important part to study aspects as semantics and the sintaxis which have not part of attention until now in the formalism. Zirmunsky (A.Block) and Vinogradov (Axmatova) were for formalists, they come from other corrents but have been integrated in the formalism. The poetical semantics started to study the concept of semantics agregued, so structural groups of elements which function in a poem, is the precedent of the concept of semantic fields.
            The study of the sintaxis as a point of union between the rhyme and the semantics, was studied by Brick. The relation between rhyme and the sintaxis conditione the sentence structure, for example, the sentence and the verse, coincide and implies an adaptation of the sintactical elements, diferential phrase and verse, they break the coincidences, and have a esthetic effect, conditioned by the rhyme, verse, the sintaxis and the semantics. The studies of the formalists in other themes of the artistical performance (theatre and cinema). In the Theatre and the cinema, their language consists not only in representing the written work by an author with naturality, of mimetize the personal behaviour of the normal life. The vanguardia of theatre is represented by a group called FEKS, the factory of the excentric actors, is an school of learning of authors. The formalist studies started to study the language as not mimetic. In the cinema the relation is the same and the results are more espectacular, have a bigger repercusion out and within Rusia. The Cinema uses a autonomous language, is not a copy of reality, the cinem uses tecnical methods in order to elaborate a discourse through the "Montatge", which makes an image through the image and through the plans, which go in relation between them, and not only of continuity, but of contrast, are characterized by the movility of the camara. The relation between the cinema and the literature is made with the poetical language, (verse, rhyme, creation of the rithmical elements) which are the ones which domines the creation of the sense of the cinema.
            POLEMICS BETWEEN FORMALISTS AND MARXISTS: The marxist theory is a theory which interprets the historical evolution of the humanity with the base of the evolutions materials in which is sustented the life of the towns and also studies the history and the society. They study the echonomic relations between the diverse social groups which form the base of the society. All the social struggles are determined by the base relations. Superstructure: ideology, laws, culture, art, have to be with the spirit. They have relation with the base, the base determines the superstructure, this is the key of the Marxism. The literature and the art which belongs to the superstructure are determined by the relations of the base, this implies that a echonomical change would make a change in the art and in the literature. The Formalist School negates the union between literature and society, and studies the aisled literature, without studiyng the elements that are next to the literature. P.S. Kogan did not like the formalist school, and he said that they are an esperts without observing their epoch. Since 1920 the formalist theory prestige is very big, and the Marxist started to think that if it could be compatibility between two theories.
            L.Trotsky was the person more important in the army and one of the men with more power in Rusia and as organizer he studied some of the political and literary theory, and in 1924 published Literature and revolution and dediqued one chapter to the formalists. Through the book of Trotsky was considered the formalism as a type of art, and not as a type of literary study. We can make a division of the functions, the marxism will explain the literary theory and the interpretation of the literary theory and the formalist method will serve to describe the pequliarities of the poetical language and the artistical work. Trotsky condemned the filosophical vision of the art, the poetry because it was reactionary and false. The attacks against the formalists go to consider that we are dealing with a Neokantian filosophy, so antimaterialist and against the revolution. Trotsky acussed them of a religiosity sui generis, because they were following St. John and said that at the beginning we had the word. The formalism as a method is not scientific, but could open the way to future critics about the ones that make the work of the literary theory. Trotsky thoughta that the complementariety because the formalism can describe their own laws of the art, because the artistical creation is a transformation of the reality, that functions with some propial laws, these laws are the ones which study the formalists. Other Marxists condemned all the formalist aportation, as Lunacarsky, Kofen, Poliansky, that negate all the utility which is partial to the formalist method. The authentical art is always ideological, an art which parties from an intense experience which transportes the artist to an spiritual expansion, a domine of the aims. Lunacarsky studies the art as a struggle which has two faces, the artist in which is centred the romantical critic and the experience which makes to perform. Art expresses the artist experience, so is idealist and it could be reactionary or revolutionary. Lots of articles of these authors are published in the magazine "Newspapers and revolution" since 1924, in this magazine there are lots of discussions with the answers of the formalists.
Eixenbaum answers to an article of Trotsky where he considers that there are some mistakes and he said that the literary evolution can only be studied by the dinamism with the specific laws. Some authors intented to make a synthesis of the two methods: marxism and formalism: Zeitlin, M.Levidov. The two wanted that the Marxism can be used to describe and the formalism to interpret: B.Arvatov intented to make two complementary methods and a fusion defining the literary work, the artistical work as a production method. This synthesis proposed by A.Zeitlin, M.Levidov and B.Arvatov was broken when the formalism finished in the thirties in the dictatorship of Stalin, but the idea fructified in the creation of a marxist poetry, which gives aspects of the formalism, and this school is called The school of Bajtin.
            Eixenbaum, in 1927 publishe an article he intented to stablish which is the point in order to study the relation between the sociology and the literary studis and that point will formule and the concept of literary habits which have the relations between the artist and his public, the relations between literature and other discourses, the study about the editorials and the politics. In 1928 Eixenbaum wrote an article about Liev Tolstoi, called in that way and made an study about him, which suposed the stdy of the biography of the novelist, and intented to make a biography different, the biographycal detail and it has not importance but the influence of the literary production. It was Y:Tinjanov in that years that made the productive keys in order to study extraliterary elements. Tinjanov defined the type of work which is formed with the verse, the poem as a construction based in four principles: unity: this signifies that all the formal resources have relation and conditione the semantics so the sense of the work , this way this goes towards the sum of the signifying partial and preached the unity principle and the sense of the poem as a group. This is being reflected in the linies of coherence of the repetition of determined elements and the unity preceded by the construction of the rhyme.Density: implies the acumulation of the senses, superficial and a specie of repetition of the same element. Dinamitzation: is a specie of desequilization of the sense which implies the correction and progressive desviation in that sense, and any element which is present in the construction of the text which is modified when is going. Succesivity: implies that the sense of that dinamitzation of the senses and the succession of the elements so the repetition of an element is not the sam of the reincidency of the first than the last one. The relation between the literary work and the same context is going to be studied as the literary act, and also as a relation functional in the literary work. It forms a part of a serie of wide systems, that are defined in the literary serie. In the end of the XVIII had relations with other series which are not literary but are integrative of the literature. The culture is being studied as a system of systems, which are the ones called series, so the relations of the work and that is extra-literary and started to be in a functional way.The historical evolution explain first of all by the relations which are given within the literary serie, but are also in the relations between the series. The relations are going to be formuled in terms of functions: sinoma and autonomous. The formalist school finished in 1930, Sklovsky recognized that had been some errors in the formalist theory and justified that he was going to go to the marxist method.