Abdibek Zh.B.
Astana, Kazakhstan
L.Gumilyov Eurasian National
University,
The
relationship of the category
writer and reader
Writer is a creative person, has a number of specific
qualities. As noted at the time Paustovsky: “The writer encourages his work
above all the call of his own heart. The voice of conscience and belief in the
future do not allow the genuine writer to live on the land as empty shell and not to transfer to the people
with complete generosity, thoughts and feelings that fill him ...”, “ The writer - a concept considered in art
history and philosophy as an aesthetic and cultural -social category. The write
category is considered in a range of concepts such as creativity, creative
individuality, personal outlook, ethical and aesthetic principles, the experience of life“ [1. 19]. The studying of
the category the writer takes
from the works of Aristotle and
considered in the researches of scholars such as Hegel, R. Barth, V. Vinogradov, Mikhail Bakhtin, Yu. Lotman,
V. Kozhinov, L. Novikov and others.
The basis form of
origin of art are three objects: a writer, literary text, the reader [2. 171].
the questions of this
"troika", continued the literary world, reflected in the writings of Aristotle
[3. 335]. “The reader is a person hears the oral rendering of an artwork, paying attention, showing the interest” [1.21]. The artwork without the reader is as being lifeless,
without a soul. If the solvents artwork
is a writer, it should be considered as a category and reader who is his “second
half”, a platform of existence. How
wrote V.B.Yarho: “As a phenomenon of an objective reality, the literature has explored by the methods of sciences of objective reality” [4. 436], the writer and the reader are concepts that
do not exist one without the other.
The category of reader, as well as the
category the writer is the philosophical, aesthetic, social and political
category. The category reader in the philosophical aspect - is perceived
through hearing and vision of the performance, which was published as the fruit
of creativity, knowledge and attitude of the writer to objective reality,
musing about the knowledge of the world, about nature, about life, about good
and evil, truth and falsehood, of human values, laws of dialectics.
In the aesthetic
aspect the reader –is hearing the works of the writer that catches his valuable thoughts and
feelings to their inner spiritual world, receiving spiritual needs and inner
renewal, educative his human self, feeling, conscious human, artistic problems
ranging from the personal to the universal. In the socio-political aspect the reader is creating historical, economic, religious, social, cultural value of the society in the period under review, the
community, which is struggling to identified problems, the society consisting
of social stratification.
The relationship of
the writer and the reader addressed in various fields of social sciences. Due to the fact that the relationship between
writer and reader interactive, communicative, the formal structure of the
communicative process is determined by the interdisciplinary research in areas
such as the theory of communication, semiotics, structuralism, hermeneutics,
phenomenology, receptive aesthetics [5.76].
In the studies of
linguists, scientists of semiotics discusses various issues ranging from
“the speaker and listener” to
the problems of language art work, author's style, textual criticism, the perception of listeners and
the main feature of humans from other living beings is the ability to speak and
the language and the ability to think are interrelated.
The problems of thinking and language, words and concepts, thinking, and conscious
of and have an important role in the development of deep convolutions of Literature. The literature is a verbal
art, since before the establishment of written literature was the superiority
of the art of oral literature, the only avenue comprehensive study of the
literary process, we have an
opportunity fully disclose and understand
the specifics, uniqueness and peculiarities of the creative process.
Founded his own
school and to investigate the mechanisms of language development and
conversational speech, F. Saucier divides the process of conversation, these
parts: a) the outer part (vibration of sounds that reach from mouth to ear),
the inner part, which covers everything else, b) mental part non psychological
part, the second covers the physiological phenomena occurring in the speech
organs and physical phenomena that occur against the will of man, c) an active part and the passive part: all
that revenue from the center of the excitation Association speaker to ear the
listener - is active and everything that comes from the ear to the listener to the center of excitation of the association
are passive.
Person's ability to
think, speak and understand to explain 'his psycho-physiological features, A. Potebnya, who studied knowledge of man, his consciousness - the
activity of thought and expression, said this thought: “Word as the unity of the internal form and sound in
the first place, is means of understanding the speaker, the content of his thoughts.
Separate sounds,
which says the speaker, the listener is perceived, resumes in his mind are the
same sounds, and memories, through the internal view creates in the minds of
the idea that subject. If the sound of the speaker in his mind is not
reproducible. not renew the respective memories, it would be impossible to
understand”[6.139].
Each art text consists of the words,
concepts, meaning and ideas. The relationship of speaker and listener are
composed of these processes. Model of the relationship of speaker and listener
is the basis of the model the relationship of the writer and reader. If the
processes in the relationship between speaker and listener are carried out in a
natural way, the relationship between writer and reader through the artwork. Processes of human thought, speech,
comprehension, understanding occur in this model. This confirms our thought and
opinion scholar of Yu. M. Lotmann: “Man
through the creation and perception of works of art can convey and preserve the
important artistic information, as integral to the structural features of a
literary text, as well as the idea is inseparable from the material structure
of the brain” [7. 11].
Relationship of the
categories of writer and reader, the literary establishment and implementation
of a Russian scientist S.N. Azbelev offers in the form of a table:
Table 1. Creation
and perception of the product.
N
↕
À) →
 → C → ( Ì
The symbols: A -
the influence of external factors (environmental influences, life experiences
on the emergence of creativity, knowledge is created literary works and
literary traditions);
N - the consciousness
of the subject, impressed the outside world in the creative process (the
creators of works of folklore);
B - a creative act,
as reflected in the consciousness;
C - Implementation
of the literary process, performance, sounds text composition;
M - the
consciousness of the reader that accepts text.
Table 1a. Creation
and perception works in the literature.
N
↕
À)
→ Â→ C ↔ ( Ì
The symbols: N -
the consciousness of the writer, and C - the written text, M - the
consciousness of the reader.
“The three main
types of human instincts: the afferent (perception), central and efferent
(motor). Afferent instinct directs perception, feeling certain things, the
central view - understanding the perceived things efferent instinct administers
the assessment of certain things are perceived” [8. 61]. The categories writer
and reader to improve, more advanced type of psycholinguistic categories “speaker
and listener, further developed individual creativity compared to conventional
speakers, the fruit of creativity, knowledge and science, research abilities.
Although the category of writer and reader in the literary arts category and
author, and are perceived in different fields of art vary in certain subjects
and objects, similar to the psychophysical, the material point of view and to
establish, the appearance of the product. Since the creator and perceiver of
art is man, the human physiological characteristics and abilities are common to
all.
Relationship, of
writer category and reader are considered in terms of communication,
including art communication. The researchers
of the history of communication noted
that in 'general communication manifests itself in the perception of a
monologue, artwork, and the process of perception, understanding, communication
is higher and rises to the level of art
communication [9, 321]. Scholar Yu. Borev studying the nature of art and noting that during the
process of artistic communication processes occur: the writer - the reality,
the writer - a creative process, the writer - the product; writer - resilient,
as well as the reader - the product, the reader - the author, the reader - the
reality , stopping on the subjects of research in these processes.
Art communication, which is born as a result of
communication categories of the writer and reader, is the main area of
a comprehensive study of art. Scientists have so far engaged in
this new area of research assert that a comprehensive study of
art the main burden falls (development
of methodology, research methods) on literature, art and aesthetics [10.15].
“The subject of literature - many-sided study
of literature, the study of its nature, origin, interference with other kinds
of public conscience” [10.17]. Naturally, in the initial stage of
studying the problems of the writer and the reader around this problem occurred
a number of different opinions. At one of these views on the writer and reader
perception of art, the relationship of the author and resilient, Academician M.B. Khrapchenko replied: “You
can not be considered correct views of some authors who believe that the study
on the reader goes beyond the scientific literature since literature as a
socio-aesthetic | phenomenon can only exist in close relationship with the
reader.” The scientist, by recognizing
the urgency of the problem, suggested to significantly expand the range of
modern literary criticism: “It is my deep conviction that one of the main areas
of literary studies in the coming years will be to study the social and
aesthetic effect, its impact - a broad and diverse - for readers of different
ages, and especially our time. This involves the interaction of literature and
sociology with social psychology. Disclosure of the spiritual aesthetic energy
literary works is impossible without a deep and comprehensive study of the
artistic structure” [11.24 ]. The thoughts
of the author defines a broad scope of problems that arise in connection with
this area, such as the author and the perceiver, the author - a work of art -
to perceive the role of literature and others. R. Barth, who was able to
identify the property of synthesizing literature, wrote: “... within the
literature focused a lot of different knowledge. If, due to the destruction of
socialism or barbarism will need to
remove all items except one, have to leave the literature, because in any work
of art reflects all aspects of science”. In this sense literature - no matter
what school she did not belong, is absolutely realistic, and points to the leading role of literature in
science, including humanities science. French
scholar, so continues his thought: “Literature
of the other properties characteristic of science, that is all uncertain
attributes of science. Its content corresponds to content: science is not a
scientific matter, which is not affected by world literature, world art works
covers all areas of science (social, psychological, historical) - so the
literary belonged to the ancient
Greeks, reflects the great unity of world formation” [12, 376].
In order to reveal
the essence and understand the specific categories of writer, reader I need to
pay particular attention to the works of researchers of literature with the
historical and functional point of view, structuralism’s work have emphasized the role of
literature. Only at using of the methodology, research methods listed works
problem of the author and the listener can go in the right direction. The
main questions considered for comprehensive study of art: “The
main objective of a comprehensive study - study of the patterns create a work
of art and its perception of readers, listeners, viewers. However, there is a
problem creating a universal, unified theory of the artistic process and perception. This problem is multifaceted and
need to solve many issues. Among them: the emergence of art thinking and its evolution at different
stages of social development of the relationship. logical and emotional and
sensual elements of the reflection of reality, the dynamics of the artist from
the beginning creative process and to
the end, the types of creative processes, their relationship to art methods;
goal of artistic arguments coordinate its implementation, the unity and
diversity of visual activity and its perception, the problem of “artistic creation the reader; to the reader, listener, viewer with concrete
sustains perspective, criteria of talent and genius; activity of words a logical, visual, emotional memory works of
art during the creative process and his perception of their relationship, the
relationship of hearing and other analyzers and nature images in the
literature, the visual art and music, the feasibility and spontaneity, “consciousness”
and “unconscious” in the creative
process, the nature of inspiration in modern knowledge, emotional and human
activity” [13.32-33].
Resulting results, a category the reader, as well as
a category the writer is a philosophical, aesthetic category. A category the
reader in philosophical aspect - perceiving through hearing and vision the
product which was published as a fruit of creativity, knowledge and a sight of
the writer to the objective validity, reflecting on world knowledge, about the
nature, about a life, about good and harm, about true and lie, about human
values, about dialectics laws.
The literature list:
1. The dictionary of terms on
literary criticisms. - Almaty: 1996. - 240 pp.
2. Savelyevs V.V. Hudozhestvennyj
the text and the art world. - Almaty: the Dajk-press, 1996. - 192 pp.
3. Aristotle. Analysts. - Minsk:
the Modern word, 1998. - 448 pp.
4. Gasparov M. L. About Russian
poetry: analyses, interpretations, characteristics. - St.-Petersburg: the
Alphabet, 2001. - 480 pp.
5. Borev V.JU, Êîvàlånêî A.V. Culture and a mass communication.
- Moscow: the Science, 1986. - 301 pp.
6. Potebnya, A.A. Aesthetics and poetics. - Moscow:
Art, 1976. - 614 pp.
7. Lotman JU.M. Structure of the art text. -
Moscow: Art, 1970. - 384 pp.
8. Såmåchêin N.I. Social psychology. -
Rostov-on-Don: the Phoenix, 2003. - 608 pp.
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Ðóñè÷, 1997. - 576 pp.
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Process of creativity and art perception. - Moscow: Art, 1985. - 318 pp.
11. Context. 1982. - Moscow: the
Science, 1983. - 336 pp.
12. Bart of the River the Selected
works. Semiotics. Poetics. - Moscow: Progress, 1989. - 615 pp.
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art creativity. -
Moscow: Art, 1968. - 450 with.