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Models, gradations, experiments


Edward Balcerzan

The deepest crises cannot destroy the universal model of literariness. It maintains its appeal for participants in literary communication as a «contradictory» model. This thought recurs in many epochs. Literariness involves suspending the formal or logical norms of contradiction ( lex contraditionis). In everyday speech, it is not permissible for «A» to simultaneously be «not-A»; in literary structures this is the norm. This is both in the ideas, and in the tensions between the artificiality and naturalness of speech, the structure and the chaos of the plot, experimentation and revitalization of tradition, objective observation and a biased vision of the world, its visibility and invisibility, expressibility and inexpressibility, and a realistic and an imaginative focus. Executions of this model are gradative.
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Chapter 3: Literariness in the Spacetimes of Its Reception


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Chapter 3:  Literariness in the Spacetimes of Its Reception

The gradated approach to artistic writing does not overrule the prohibitions of scholarly rigor, but it simultaneously makes room for intermediate states, transitional phases, and hazy views. Moreover: a multiplicity and diversity of these states is presupposed, and the above premises unfailingly prove their mettle with regard to collections of language texts – DERIVING FROM LITERATURE, inspired by its works, styles, evolutions, crises, triumphs, as well as biographies (legends) and events (legends) of literary life.

Originary Literariness

What is the literariness I am calling ORIGINARY with regards to the previously examined MODEL literariness? This depends on the text. If we are dealing with the literary message – in the sense analyzed and outlined in the previous chapters, i.e. in terms of autonomous artistic language structures that supplement (dynamize and problematize) the literary art – their basic identifiers remain the particular inner, syntagmatic structures. The acknowledgement of a literary derivation in these works, indicated either directly or unambiguously suggested by the author, stands as an ADDED SIGNAL OF THEIR ROOTS IN THE LITERARY ART. In other words, in the very poetics of the text, a sensitive and experienced reader will find sufficiently compelling proof of their literary identity, and – there is never too much of a good thing – would simultaneously find added signs of this identity.

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