Critique of “Sancho’s Morning Walk” in terms of Russian Formalism
Keywords: Haldun Taner, Sancho’s Morning Walk, Russian formalism, criticism, objective criticism
Abstract
Russian formalism is an objective method of criticism that tries to reveal the literariness of a work with its own unique concepts based on the work. According to this criticism method, literature is provided by the construction of "defamiliarization" in poetry and genres close to poetry, and "syuzhet" in genres close to novels and novels. Defamiliarization is the creation of linguistic forms in a text that are different from the structures that are taken for granted in daily language. Syuzhet is the term connoting that events and situations are organized differently from what is actually expected to happen. A familiar structure is automatically perceived by the reader, as a result of which the structure becomes invisible and the expected literary effect does not occur. This harmful effect of automatic detection can only be overcome by differentiation of the usual structure. These two techniques prevent the automatic perception of the text, make it perceptible and provide the literarily. Haldun Taner is a pioneer and important writer of Turkish narrative. The author, who skillfully uses modern story techniques, has created the literary style in his works in an effective and original way. "Sancho's Morning Walk", in which the protagonist is a dog, is a story in which the author exhibits remarkable and original uses in providing literature. The aim of this study is to criticize "Sancho's Morning Walk" in terms of Russian formalism. It has been tried to reveal how the literature is created in the story, based on the defamiliarization and syuzhet techniques. In the story, how syuzhet was formed and how the defamiliarization principle was applied are tried to be revealed through examples. The structure in the story has been examined in terms of these concepts and it has been tried to explain how the literature was created. It has been tried to reach a conclusion in terms of Russian formalism regarding the literary dimension of the story.