RTV Theory and Practice - Special Issue

establishes ontical contact with what we would call the literary language level of radio drama. H owever, and this onlv happens through concretisation of the radio drama, we feel the presence of a spiritual being which radio drama draws into the sphere of the aesthetic phenomena. The organisation of the literarv language level of a radio drama, which is the task of the dramatist, leads us to view a radio drama as a model of a literary structure. And this view of radio drama requires analysis of its internal structure. According toJM. Lotman ”the composition of an artistic text”, in this case a radio drama, is organised as a trail of functionally dissimilar elements, as a series of structural dominants at various levels.” l6 According to him, ”the literary text is divided into different levels: phonological, grammatical, lexical-semantic, microsyntactic (sentence) and macro-syntactic”, l7 Radio drama within the area of macro-semantics is the Sign. It "models the world selecting certain specific elements in it This means that it structuralises material giving it a new meaning denoted by a network of internal relationships within the sign.” lB Moreover, this sign (here radio drama) is polyphonic and multimeaning and is constantly in statu nascendi et moriendi thus creating what Julia Crysteva calls ”an infinite pblysign” (polysemie infinie)' 9 On the other hand, the phenomenological analysis of Roman Ingarden 2o which relates to mterpretation of the literary artistic work would assist to a great degree in undertsanding the internal structure of the radio drama itself.

16 Ј.М. Lotman, Struktura umetničkog teksta, „Nolit”, Belgrade 1976 p. 357. ’ ’ 17 Ibid , p. 357 StefanMorawski, "Aesthedcs and Semiotics”, Radio Belgrade Third Programme, Autumn 1976, p. 224. 19 JuliaCrysteva, Thčorie d’ensembie, 1967. 20 Romanlngarden.Das literarische KunsUuerk, 1931

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