Critical Analysis Of The World Of Cooking By Boeuf Borgingnonne

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This essay will first provide an analysis of a text, “World of Cooking” Boeuf Borgingnonne” (see suplementary materials) by focusing on the the theory and methods of the Russian Formalists. I will then provide a brief critical discussion of the analysis and theory used.

To begin analysis I will look first at the device of linguistic sound “The Formalists started out by seeing the literary work as a more or less arbitrary assemblage of “devices”...“Devices” included sound, imagery , rhythm, syntax, meter, rhyme, narrative techniques, in fact the whole stock of formal literary elements. (Khosravishakib 12). Therefor a criticism of device in the text is one of the most important features of my analysis. The literary and poetic devices that are
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If my text, a recipe, a text of instruction not intended to be read for literariness can be examined, in such fashion as Tolstoy, Gogol or Sterne, albeit loosely or satirically, then what use is the method of formalism for the texts for which it was concieved? Due to my choice of text I have proven that Formalism for the must part is a greatly unsatisfactory method of analysis of literariness. Literature cannot, as I have demonstrated in my analysis be defined purely on the the technical effects within in it. That is not to say that literature should not demonstrate or my accessed on technicalities. The poet or writer or playwright should engage in art as a technique while also demonstrating that technique must be a tool for the representation of ideas, philosophy, emotion within a context or framework extrinsic to the text. Texts of any sort need a context in order to be understood, I found great irony in the opening lines of Nicholas Warner’s essay In Search of Literary Science the Russian Formalist Tradition, “In order to appreciate the astonishing sophistication of Russian Formalist theory, and, indeed, even to understand what the Russian Formalists were about, we first need to understand the critical context in which Russian Formalism developed” (70). This is a non literary text (though in theory one could debate otherwise) that much is granted, but the fact remains that “context” is not a factor in needed in understanding the text in terms of literariness for the Russian Formalists. I have noted through much of the essays on Formalism that perception, which is a thread of understanding, is a key factor. In this case a critical context should be taken into account in all texts in order to provide a means of

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