RTV Theory and Practice - Special Issue

”0 ntologically can we admit only what stands in the texture, delving into the physical structure of the work or does ontology also cover not only everything that is physical but that which can be imagined on that physical basis?” 11 In other words, and slightly more down to earth,Fochts interpretation of this question at another point in the same text is as foliows: ’df, in fact, the ontological quality in a work of art is only what that work contains in itself and not what the perceiver sees in it, then it must be the primary quality. If, on the other hand, this quality is only formed artistically upon contact with the reader, viewer, or iistener, then it is not primary and cannot be considered a characteristic of a work of art per se. But if this quality is secondary, we must ask ourselves whether we should consider it an ontic quality at all?” 12 In order to answer this question, we no longer need only analysis of the modal aspect of the ontological qualities of radio drama. It has now become essential to direct our analysis of the artistic phenomenon of radio drama towards the instruments and methods of consitutive analysis. CONSTITUTIVE ANALVSIS OF THE RADIO DRAMA AS A WORK OF ART At the beginning of our essav we defined constitutive ontological analysis in investigating an artistic phenomenon as an analvtical penetration into the structure of a work of art, into its ”materia” in order to find out what are onticarv defined constituent elements of a radio drama as a work of art Firstlv, it might be a good idea, within the context of this paper, to define the idea of ”structure”. We feel that the best definition is that suggested bv Laland in his Vor.abulaire de Philosophie,’, 111 Laland states at one point "Structure is a whole so formed bv united

" Ibid-, p. "520 12 Loc. cit

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