Hermeneutic, logical, psychological perspectives of the literary text interpretation.

The hermeneutic prospective, (focuses on the reader's perception) followed by Umberto Eco, among other scholars, advocates the active role of the interpreter and an "open-ended reading", i.e. potentially unlimited elucidation of a text. The radical hermeneutic approach falls under the subjectivist trend of interpretation, finding the reader's sense of a text to be only valid one and discarding the author's intention. Eco abides by the rational paradigm by trying to reconcile the objectivist and subjectivist trends with his "third possibility" - looking for an "intention of the text".

The psychological (psychoanalytical) perspective (focuses on the author's perception) is based upon the Freudian and Jungian treatment of the literary text as a form of sublimation of the writer's subconscious, primarily sexual, desires and archetypal images. Using this approach, an interpreter looks for hidden connections between the writer's style and his/her phsychological traits. This perspective complies with the main postulates of the objectivist paradigm.

The philological perspective intergrates linguostylistic and literary stylistic approaches to the analysis of fiction. The goal of this interpretation is to decode both the author's and reader's senses of a fictional text through the study of the text genesis and its impact upon the reader. This perspective is a crossroads where different interpretative paradigms converge.

The pragmatic perspective of the literary text interpretation is aimed at the exloration of implied relationships between the author and the adressee; in other terms, the author's expectations about the reader and his/her literary response. This perspective belongs to the rational paradigm.

The allegoric-symbolic perspective treats the literary text as an ambigouos (twofold) construction that conceals hidden ("dark", obscure) senses under the cover of its images.

51. Basic notions of literary text interpretation: textual reference and artistic model of the world. Fictitious time and space.

components of the text:
the message (idea/concept) - the theme (thematic planes) - the author's image (including the narrator and the narrative, the dominant point of view) - the image of the reader - characters and non-human images - the compositional and genre unity (setting, conflict, plot lines and turns, text partitioning) - the tonal system (EM and SD, language).

Authenticity of the writer's interpretation of reality and idiosyncrasy of his/her vision of the world are significantly dependent on the way time and space are reproduced in the text.
In literary works conceptual time and space, which embrace universal ideas based on physical laws and historical conventions, as well as perceptual or emotive time and space are modelled in the form of fictitious time and space.
Fictional time and space are not direct representations od conceptual and perceptual time and space, primarily because literary descriptions of time spans do not correspond to their real duration: a sequence of several years or travel around the world can be described on one page, while one day can be outstretched through the whole novel. Secondly, while conceptual time is linear, fictional time is usually multidimensional and shifting from past to future within one text. Thirdly, depiction of the same historical span or the same area is usually achieved through fragmentary images, not to mention the fact that different authors may approach the depiction of the same epoch or locale using different stratagems.

Shifts to the multidimensional time are termed flashbacks (deviations into the past) and flash-forwards/forshadowing (deviations into the future).

Temporal and spatial settings(immediate-pertaining to a certain fragment, and broad - to the whole text).

Setting in fiction contribut significantly to create atmosphere - the mood or subjective impression produced by a literary work. In this way that readers imagine (visualise and feel) the fictional world in which characters exist.

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