<P> 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" (Shklovsky 16). 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)" (Shklovsky 19 - 20). </P> <P> 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" (Shklovsky 19). </P> <P> Shklovsky's defamiliarization can also be compared to Jacques Derrida's concept of différance: </P> <P> What Shklovskij wants to show is that the operation of defamiliarization and its consequent perception in the literary system is like the winding of a watch (the introduction of energy into a physical system): both "originate" difference, change, value, motion, presence . Considered against the general and functional background of Derridian différance, what Shklovskij calls "perception" can be considered a matrix for production of difference . (Crawford 212) </P>

Who said art is making the strange familiar and the familiar strange