The 20<SUP>th</SUP> Century is began with a well-known Revolution of Einstein which breaking the absolutism. Beginning with the breakup of absolutism, the Russian literature in the 20<SUP>th</SUP> Century naturally faced the need of changes of literary view and revolutions of system of esthetics in accordance with changes in the understanding of arts. It not only introduced a critical doubt about absolute confidence of natural science, but also applied scientific though and terms to the art and the study of literature, so called ‘the poetic as science’. The development in tumultuous discussion about diverse studies on literature like Formalism in the leads, there was a distinct trend of experimental poetics reflecting new phases of times and showing esthetics features that was clearly differentiated from previous Realism literature which was defined as Neorealism. The aim of this paper is to analytical contemplation of Russian Neorealism, also called as ‘Synthetism’, which actively apply scientific though and terms to the study of literature and the writings. Particularly Evgeniy Zamyatin, who developed the theoretical frame of the Neorealism and intensionally experimented in new poetics of Neorealism.
Above all, a relativist view of science that recognizes the existence as the formatting thing in process is an important value of Neorealism. It based on ‘the poetics of creation’, which shows extraneous things and existence but as a result creates the whole impression. The extreme attention to the everyday life which exists ‘now and here’ is the most distinct features of the poetics of Neorealism. The ‘showing’ is the way of expose real life and existence in everyday life, influenced by the paintings in the beginning of 20<SUP>th</SUP> Century and the films. Especially, the cinema which revolutionally changes the way of seeing affected the literature and its way of writing. So obviously ‘cinematic writing’ is the important component for Zamyatin and other Neorealistic writers, who supported not telling but showing in narrative.
On the other hand, in the literature of Russian Neorealism the materials of everyday life which doesn’t have direct connection of suzet constantly imposed on exhibition of narrative style of Neorealism, for example fragmentization. The ornamental style of narrative is one of the indexes of fragmentization, which acknowledges the existential object through lively images and realizes the form of ‘poetical prose’ in Russian Neorealism.
In the end the ornamental style of narrative and mosaic composition in Russian Neorealism is the expression of the awareness of the importance of the moment containing the eternity, which brought new recognition of natural science of the beginning of 20<SUP>th</SUP> Century.