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Literariness is the organisation of language which through special linguistic and formal properties distinguishes literary texts from non-literary texts (Baldick 2008). The defining features of a literary work do not reside in extraliterary conditions such as history or sociocultural phenomena under which a literary text might have been created but in the form of the language that is used. Thus, literariness is defined as being the feature that makes a given work a literary work. It distinguishes a literary work from ordinary texts by using certain artistic devices such as metre, rhyme, and other patterns of sound and repetition. ==History== The term ‘literariness’ was first introduced by the Russian Formalist Roman Jacobson in 1921. He declared in his work Modern Russian Poetry that ‘the object of literary science is not literature but literariness, i.e. what makes a given work a literary work’ (Das 2005, p. 78). Russian formalism preceded the Russian Revolution as it originated in the second decade of the 20th century and flourished in the 1920s. It had its origin in two centres: the Moscow Linguistics Circle and the St. Petersburg based group OPOJAZ (the Society for the Study of Poetic Language) (Makaryk 2000, p. 53). The focus of their attention was on the analysis of the features that make up literary texts in opposition to the former traditional study of literature which focussed on studying literature in conjunction with other disciplines such as history, biography, sociology and psychology (Makaryk 2000, p. 53). It insisted that literary scholars should solely be concerned with the component parts of a literary text and should exclude all intuition or imagination. It emphasised that the focus resides on the literary creation itself rather than the author/reader or any other extrinsic systems (Erlich 1973, p. 628). To Russian Formalists, and especially to Victor Shklovsky, literariness, or the distinction between literary and non-literary texts, is accomplished through ‘defamiliarization’ (Ekegren 1999, p. 44). A main characteristic of literary texts is that they make the language unfamiliar to the reader and deviate from ordinary language. They have the capacity to defamiliarise our habitual perceptions of the real world and the capacity to estrange it (Ekegren 1999, p. 44). Shklovsky stated that the purpose of art is to disrupt the automatic response to things and give it a new and unforeseen perception (Makaryk 2000, p. 54). Defamiliarised language will draw attention to itself: as our perceptions are automatic, it will force the reader to notice the unfamiliar through a variety of different techniques i.e. wordplay, rhythm, figures of speech and so on (Lemon 1965, p. 5). Another key term in defamiliarisation and literariness introduced by Shklovsky is the concept of ‘plot’. For Shklovsky, the plot is the most important feature of a narrative as he claims that there is a distinctive difference between ‘story’ and ‘plot’. The story of a narrative entails the normal temporal sequence of events whereas the plot is a distortion of the normal storyline and thus associated with defamiliarisation (Williams 2004, p. 5). The idea of defamiliarisation was further explored by the Prague School Theory with one of the main scholars, Jan Mukarovsky, and by later developments in the theory of Roman Jakobson. Jan Mukarovsky postulates the idea that linguistic deviation, such as foregrounding, is the hallmark of poetic texts (Pilkington 2000, p. 16). He claimed that the use of linguistic devices such as tone, metaphor, ambiguity, patterning and parallelism distinguish ordinary language from poetic language. In the 1960s, Jacobson introduced the poetic function of literary texts and further developed the idea that the use of certain linguistic choices draw attention to the language of texts. He placed poetic language at the centre of his inquiry and emphasized that phonetically and syntactically repeated linguistic elements distinguish literary from non-literary texts. He tried to define literariness by distinguishing between six functions of language: the emotive, referential, phatic, metalingual, conative and poetic function (Zwaan 1993, p. 7) . To Jacobson, the poetic function is the most important function as it mainly focuses on the message itself (Zwaan 1993, p. 7). The different linguistic devices in a piece of literary text initiate the reader to have a closer look at the happenings in the text which without linguistic distortion, might have been left unnoticed. Thus, Roman Jakobson emphasised that what makes a literary text is merely associated with the language as self-sufficient entity while reference to social life, history, or anything outside the language is irrelevant. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Literariness」の詳細全文を読む スポンサード リンク
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