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In Russian Formalism, fabula refers to the chronological sequence of events in a story, while syuzhet signifies the way these events are presented in the narrative. This distinction has informed structuralist and narratological analyses in literary criticism.

Literariness is the notion that literature is not simply content but is a set of distinctive formal and linguistic features that define it. It focuses criticism on the form and language of the text itself, rather than on external factors like author biography or socio-historical context.

The Prague Linguistic Circle was a group of scholars, some of whom were Russian Formalists, that played a crucial role in the development of structuralism and semiotics. They emphasized the importance of studying the function of literary devices within texts.

Defamiliarization is the technique of forcing the audience to see common things in an unfamiliar or strange way, in order to enhance perception of the familiar. It is central to Russian Formalism and has influenced various literary theories, particularly in the study of narrative techniques.

Although not a Russian Formalism concept, New Criticism in American literary criticism was heavily influenced by formalist ideas. It focused on close reading and the autonomy of the text, similar to how Russian Formalism emphasized the independence of literature from external influences.

Yuri Tynianov was a member of the Russian Formalist school, known for his work on the dynamics of literary systems and his influence on subsequent theories of intertextuality and system-oriented literary history.

Victor Shklovsky was a primary figure in Russian Formalism, known for developing the concept of 'defamiliarization' (ostranenie), which suggests that the role of literature is to make the familiar strange. This has had a profound impact on how critics view the purpose and function of literary techniques.

Roman Jakobson was a Russian Formalist who contributed significantly to structuralism and semiotics. His theories on the functions of language and the distinction between metaphor and metonymy have been influential in linguistic and literary criticism.

Russian Formalism viewed poetry as a special type of language that uses its own devices, like sound and rhythm, to function autonomously from ordinary language. This perspective isolates the study of poetic language as a distinct and significant object of analysis.

Boris Eichenbaum was a leading theorist who wrote on the 'Theory of the Formal Method'. He argued that the form of a literary work creates its content, an idea that has deeply influenced formalist and structuralist literary criticism.

The method of defamiliarization is a formalist critique strategy that seeks to examine how a literary work's language and structure can estrange or distance readers from the ordinary, promoting a deeper aesthetic appreciation.

Russian Formalism emphasized the function of literary devices, arguing that they are central to understanding how a text achieves its effects and meaning. This encourages critics to focus on the mechanics of the writing itself.

Russian Formalism brought attention to the linguistic texture of a literary work, examining the significance of phonetic, lexical, and syntactic features in creating meaning and aesthetic effect.

Russian Formalism was critical of the biographical approach to literary criticism, which focuses on an author's life as a means to understand their work. They argued that the meaning of literature is derived from its own form and devices rather than the author's personal history.