Neo-Formalism

Neo-Formalism

(1964–1970)
A style which combines the Classical symmetrical forms and smooth wall surfaces with arches of precast concrete and decorative metal grilles, very often delicate in appearance, typical of the work of Minuro Yamasaki.
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References in periodicals archive ?
A significant number of recent essays suggest that Swinburne's critical fortunes are benefitting from the turn to "neo-formalism" that has been a crucial stand of Victorian studies over the past decade.
This issue aside, neo-formalism still faces Godelian worries, which is to say: so long as theoremhood in the relevant formal systems is recursively enumerable, mathematical truth will outstrip formal proof.
This is not the only problem with Weir's neo-formalism, however.
In summary, then, there is little chance that Weir's neo-formalism is correct; it assigns proof a role in mathematics that it is unlikely to be able to perform.
(32.) For reasons which will appear shortly, the neo-formalist example selected here is drawn from constitutional law, but there has been at least a mild neo-formalist renaissance in contract law as well which in some ways parallels the rise of moderate jurisprudential neo-formalism. See, e.g., Mark L.
All the contributions are about Chekhov, all tend to work from a text outwards, but even the now meaningless label 'neo-formalism' has no binding force.
Gava champions Dixonian neo-formalism whilst berating Justice Kirby's alleged descent into judicial activism.
However, it also sets the hares running to find the inarticulate premises that underpin Dixonian neo-formalism.
In order to appraise Sir Owen's neo-formalism, it is necessary to examine his jurisprudence in practice.
Gava's critique of Justice Kirby is founded on a set of governing ideas that synchronise with neo-formalism. If Gava were a judge, it is tempting to speculate on the policy values and political ideology that would inform his decisions.
My lack of satisfaction thus follows not only the critique of White (on Foucault) but of Alan Liu on Greenblatt's unspoken investment in master tropes, namely, metaphor (Liu's unsurpassed essay "The Power of Formalism" appears in NHCM's bibliography, though it is never cited or used, despite Brannigan's acknowledgement of general appraisals of new historicism as an odd version of neo-formalism; see 91); I also follow Fredric Jameson's extensive and brilliant critique of new historicism as an eccentric "kind of writing" (see his Postmodernism--which escapes Brannigan's bibliography altogether, while Jameson's work and his ongoing critique of new historicism find no mention anywhere in the book).
Michael O'Toole's study Structure, Style and Interpretation in the Russian Short Story (New Haven and London: Yale University Press, 1982), as well as work by other British and European scholars associated with neo-Formalism; in addition, his discussion of narrative is informed by now classic studies of narratology (Rimmon-Keenan, Genette, Scholes and Kellogg, and others).