Baština (Jan 2018)
Communication with writer's imagination
Abstract
In some historical, sociological, philosophical, literary, and psyhological discourse, literary text may be given a lot of different connotations. Literary theory and literary history, which are necessary points of support to literary critic have long been trying to find a valid instruments for study, categorization and valorisation of literary-artistic text. The issue of scientific method and (or) the outcome of scientific researches are still carrying unsolved dilemmas in the sphere of the science of literature. The reader (and literary theorist as well, who is 'engaged reader') is necessary determined by the capability to follow author's suggestions and to actualize them. The act of oeuvre perception in that way becomes familiar to the creation act since new meanings are always being established that act. Phenomenologists recognize this phenomenon as 'sa-stvaranje' so that an important difference was made between these methods, which were dealing with the text itself and the ones, which were interested in communication triangle author-oeuvre-reader. The immanent feature of literary text is the capacity for reinterpretation, re-structuring, which may be completely independent from the author's ideas. That capacity of oeuvre for metamorphose, its openness (as interpreted by Merlaut-Ponti, and later on Umberto Eco) and variation of meaning, change of meaning, modern interpretators of literature call it entropy. Truly valuable artistic oeuvres have got almost inexhaustible entropy as the immanent feature. The task of the science on literature would be to offer possibility of the largest (certainly not final) spectrum of literary phenomena by moving through the universally of the text. Reception of literary text prepared in that way preserves theoretic foundation without depriving the reader of the possibility of a self-perceptive experience and interpretation of the oeuvre.
