RTV Theory and Practice - Special Issue

ThisPolish phenomenologist discovers in the structure of the literary work four different iayers. The first Iауег of the work is made up of words, voices and sounds. The second is composed of meanings of words. The third compreses objectification, in other words, a layer of portrayed objects (people, things, events). And finally the fourth level in the literary work is a Iауег of schematised aspects in which the object of the portrayal appears. F or objects in a literary work are shown in mutual relationships in different perspectives, above all, in the perspectives of time and space. And they are fixed in this relationship. Yet, as objects themselves, they are not fully portraved, but onlv in some of their aspects. They are portrayed the way the writer wanted and was able to show them, that is, if these objects were familiar and accessible to him. In this way, therefore, the object is shown in fact as only one scheme of aspects, not as a real and complete object itself. Now we must perforce ask ourselves the puestion; which of these layers of the literary work is onticaty rooted in the very essence of radio drama? Put another way, considering these layers which Roman I ngarden discovers in every literary work, we wonder what the existential basis of radio drama is, given that we are here discussing constitutive analysis of an aesthetic phenomenon. The ontdcal basis of the radio drama within the framework of constitutive analysis is, in our view, rooted in the first and third layers. Ог, as Ivan F ocht would have it ”what are objective and thus primary in literature аге: sounds, words, sentences which аге given directly, as well as their relationships which create the structures, lines, the architecture of the work - its herbartdan form. The third level fully merges with the first in space and place so that, just as sounds and words exist objectively by themselves so their relationships also exist in the same medium, and both groups are presented ериаИу.’^ 1 C onsequently, the aesthetic influence of the radio drama emerges from a synthesis of the first and third layers. This synthesis

21 Ivan Focht, „Granice ontoiogije umjetnosti u istraživanju književnog djela”, Teka, Proljeće, 1977/8.