Таныс нәрсені жаңаша көрсету өнері

Artistic technique of presenting common things in an unfamiliar or strange way
Defamiliarization or ostranenie is the artistic technique of presenting to audiences common things in an unfamiliar or strange way so they could gain new perspectives and see the world differently. According to the Russian formalists who coined the term, it is the central concept of art and poetry. The concept has influenced 20th century art and theory, ranging over movements including Dada, postmodernism, epic theatre, science fiction, and philosophy; additionally, it is used as a tactic by recent movements such as culture jamming.

The technique appears in English Romantic poetry, particularly in the poetry of Wordsworth, and was defined in the following way by Samuel Taylor Coleridge, in his Biographia Literaria: "To carry on the feelings of childhood into the powers of manhood; to combine the child's sense of wonder and novelty with the appearances which every day for perhaps forty years had rendered familiar this is the character and privilege of genius." Preceding Coleridge's formulation is that of the German Romantic poet and philosopher Novalis: "The art of estranging in a given way, making a subject strange and yet familiar and alluring, that is Romantic poetics."

To illustrate what he means by defamiliarization, Shklovsky uses examples from Tolstoy, whom he cites as using the technique throughout his works: "The narrator of 'Kholstomer,' for example, is a horse, and it is the horse's point of view (rather than a person's) that makes the content of the story seem unfamiliar." As a Russian Formalist, many of Shklovsky's examples use Russian authors and Russian dialects: "And currently Maxim Gorky is changing his diction from the old literary language to the new literary colloquialism of Leskov. Ordinary speech and literary language have thereby changed places (see the work of Vyacheslav Ivanov and many others)." Defamiliarization also includes the use of foreign languages within a work. At the time that Shklovsky was writing, there was a change in the use of language in both literature and everyday spoken Russian. As Shklovsky puts it: "Russian literary language, which was originally foreign to Russia, has so permeated the language of the people that it has blended with their conversation. On the other hand, literature has now begun to show a tendency towards the use of dialects and/or barbarisms." Narrative plots can also be defamiliarized. The Russian formalists distinguished between the fabula or basic story stuff of a narrative and the syuzhet or the formation of the story stuff into a concrete plot. For Shklovsky, the syuzhet is the fabula defamiliarized. Shklovsky cites Lawrence Sterne’s Tristram Shandy as an example of a story that is defamiliarized by unfamiliar plotting. Sterne uses temporal displacements, digressions, and causal disruptions (e. g., placing the effects before their causes) to slow down the reader’s ability to reassemble the (familiar) story. As a result, the syuzhet “makes strange” the fabula.

The influence of Russian Formalism on twentieth century art and culture is largely due to the literary technique of defamiliarization or 'making strange', and has also been linked to Freud's notion of the uncanny. In Das Unheimliche ("The Uncanny"), Freud states that "the uncanny is that class of the frightening which leads back to what is known of old and long familiar," however, this is not a fear of the unknown, but more of a feeling about something being both strange and familiar. The connection between ostranenie and the uncanny can be seen where Freud muses on the technique of literary uncanniness: "It is true that the writer creates a kind of uncertainty in us in the beginning by not letting us know, no doubt purposely, whether he is taking us into the real world or into a purely fantastic one of his own creation." When "the writer pretends to move in the world of common reality," they can situate supernatural events, such as the animation of inanimate objects, in the quotidian, day to day reality of the modern world, defamiliarizing the reader and provoking an uncanny feeling.

Defamiliarization has been associated with the poet and playwright Bertolt Brecht, whose Verfremdungseffekt ("estrangement effect") was a potent element of his approach to theatre. In fact, as Willett points out, Verfremdungseffekt is "a translation of the Russian critic Viktor Shklovskij's phrase 'Priem Ostranenija', or 'device for making strange'". Brecht, in turn, has been highly influential for artists and film makers including Jean Luc Godard and Yvonne Rainer. Science fiction critic Simon Spiegel, who defines defamiliarization as "the formal rhetorical act of making the familiar strange (in Shklovsky's sense)," distinguished it from Brecht's estrangement effect. To Spiegel, estrangement is the effect on the reader which can be caused by defamiliarization or through deliberate recontextualization of the familiar.