More on the fandom "Fikbook and everything connected with it." The ideal reader of your content The ideal reader in the concept of a 7th grader

Now almost everyone has their own personal blog, in which they express their thoughts and vision of life in general. On a personal blog, you don't really care how many people read it and who all these people are (regular readers or just a random passerby). But if you're blogging with a purpose, these issues come to the forefront. Since your success and recognition as an individual (if you are selling yourself), or the success of your business (or the company you work for) depends on this. At the same time, it is not at all necessary to be a journalist or writer. Blogs have become a mass phenomenon, which means evaluation criteria have blurred.

In order for your blog to become successful, recognizable, profitable - in general, correct in all respects, you need to understand who your “ideal reader” is. You must draw a portrait of him (who he is, what he does, what interests him, etc.) and try to stick to the right direction to achieve your goals.

After all, in order to sell, you need to hook something alive. Make sure that reading your news over a morning cup of coffee becomes a mandatory ritual for these people, without which the feeling of the past day would be incomplete. This is precisely why the “image of the ideal reader” is created.

1. Write about what you think is really important

Articles are always written with a specific purpose. One way or another, if this is a thematic blog, you help your readers find answers to their questions. If you can imagine your reader - his thoughts, his problems, you can write a really good article and thus help understand the problem.

Writing just so as not to miss a day is a waste of time. Each of your posts should contain useful information that can help answer your readers' questions.

Try to make sure that you always have a supply of topics in case not a single worthy thought comes to mind.

2. Discover hidden opportunities

While creating this profile, a new business idea may come to your mind that was seemingly so obvious and lying right in front of your nose, but you did not notice it.

For example, let's say you want to write an e-book. You may decide to give away one free copy to your readers as a bonus and this way you can test the waters and test interest in your book.

Before creating the “ideal reader image,” you might have thought that all everyone around you was doing was blogging and publishing books. Who will need another book from another would-be writer?

But after defining the image of our ideal reader, we will understand what exactly should be in this book. Your first book doesn't have to be a perfect document. You can present one main idea that your subscribers really care about and that can help them solve their problems.

Plus, this profile can help you find options for monetizing your blog in terms of helping your readers solve their problems.

About halfway through your journey, you may have the feeling that you are doing something wrong. Don't worry, you are not alone! There are times in everyone's life when you start to get tired and doubt your plans. And also doubts arise in one’s strengths and ability to stick to the previously planned path.

If you feel that your feelings have cooled and writing is becoming increasingly difficult, you may need to take a short break. Or what you write is not so inspiring and exciting for both you and your readers.

Think about what would interest and inspire your ideal reader. This will help you publish only high-quality, interesting and useful material.

4. Connect with your audience

At least occasionally, remind your readers that behind the articles you publish there is a person - a separate personality. Communicate with them, respond to comments, maintain a dialogue. Bringing humanity to your blog and connecting with your readers increases their loyalty to you as a person and as an author. They start to trust you. And trust means a lot.

How to Create Your Ideal Reader

It's actually very simple. Imagine a person whom you would like to interest and involve in reading your blog. Try to be as specific as possible when drawing up a psychological portrait.

At first, this may not seem as easy as it seems. But if you get involved in the process, you can discover a lot of interesting and new things.

Your ideal reader persona should include the following information:

Demographic information: age, gender, interests, etc. This will help you tune in to the same wavelength as your audience.
A list of their problems and desires. What keeps them up at night?
Reasons why they visit your blog. Why are they reading you?
Their level of knowledge.
Their goals and dreams.

You can create more than one image. But it would be more effective to focus on one collective image that contains all the necessary information. The resulting psychological portrait may be surprisingly similar to you. But under no circumstances allow him to be your clone - this will lead you to a dead end.

Your readers may be very similar to you, you may have similar goals and dreams, or similar problems. But in all other respects, you may be radically different and, accordingly, their reaction may be quite unexpected, and sometimes negative.

Have you ever thought about who you are writing for? Who are your readers? What are their problems, goals and dreams?

Try to create a collective image of your readers and perhaps you will discover a lot of new, interesting, unexpected and even a little scary;)

“The ideal reader is: a person who fully understands the book he has read and draws appropriate conclusions from it. It turns out that the more a person reads, the more educated he is and the better he can get out of any situation.
A true reader is one who knows how to learn from the mistakes of book heroes.
Nowadays people mostly like easy to read fiction or some kind of science fiction that is easy to understand. The easier a book is to understand, the more it is read, which is why children read little of Sergei Lukyanenko, but read a lot of Harry Potter."
“There are people who love to read, and there are people who don’t like to read, nevertheless they read both, but they all have something of their own... Some are books, and some are just magazines and labels... well, occasionally textbooks... I belong to the second group, although even I have a favorite book, or rather two: “Polyanna” and “Polyanna’s Youth”... True, I have nothing to compare with, besides them I read two or three books... .
Naturally, it depends only on me, I want to do everything to the minimum, no unnecessary stress...
This is my laziness... but I’m not the only one (many people don’t like to read), everyone has different reasons: some have vision problems, some can’t read, some don’t have money for books, and some do (don’t read or read) out of spite: parents (there are not many of them, but still there are) forbid reading, and children read out of spite, and some are forced, but they don’t read... I think that I will grow up and understand that this is not only necessary, but also interesting... In fact, few of today's youth are interested in books... TV, computer, etc. books have been replaced, now a person would rather watch a movie based on a book rather than read it... there are audio books: you put them in a tape recorder and listen... I can explain why this is bad, but I myself would rather listen than read! Let me explain: when you read a book, you create your own intonation, and the reader reads it the way he likes! Thus, you perceive the book differently (he seems to impose his perception of the book on you with intonation)
Over the past forty years, the attitude towards books has changed a lot, our parents don’t see this world without books, they are ashamed of their children, but we don’t understand this... It’s unlikely that this will change, except for the worse..."
The ideal reader is the reader who loves good books, but something is good for everyone, and something is bad for his unique individual psyche. A person reads to his own rhythm, forgetting about everything in the world and immersing himself in a fictitious or true world from his ears to the tip of his heels. It seems to him that he is the hero of the book and makes decisions himself, but still moves forward according to the planned scenario. The ideal reader not only breathes the air described in the book, he falls in love, cries, laughs, is disappointed and sincerely rejoices. The ideal reader not only lives the book when he reads, but also in real life, he copies something he liked in the hero, maybe clothes or character, behavior or just body movement. a person should not just mindlessly read the letters, but also think about the content and, understanding the essence, read between the lines. I don't really like to read, I like movies more. when I read, I get very concerned about meaning and reading and don’t notice humor, little things, details, and I immediately forget what I just read, but in the film it’s different. There is no need to worry too much and strain your eyes, looking for letters. I like fun and funny films, horror films (when you read a book, it's not so scary) and just good cinema."
“This must be a person who, first of all, loves to read and study. This, of course, largely depends on the person, on his willpower and perseverance, because in order to develop a love for books you cannot do without this.
Different people read different books. It depends on the person himself not only whether he will read or not, but also what kind of literature he will love. An ideal reader should not only read for pleasure, but also to learn something new.
In life, a person can choose his own future path, he can pave the way to knowledge, he can work in a low-paid job where he needs his hands, not his head, he can give bribes - this is all a personal matter for everyone. It is the choice of his future path that guides him when making decisions - to read or not, and what to read.
Reading really necessary books is a very difficult task - you need to be able to overcome laziness and boredom, be able not to read anyhow, but to read it and understand the meaning. It is difficult to want to read, but it is even more difficult to delve into books that are uninteresting to you and extract from them everything you need.
And finally, without which an ideal reader cannot be ideal, it is, undoubtedly, the DESIRE to read and learn something new."

Ales Badak

Ideal reader

Story

A teacher cannot dream of an ideal student, because an ideal student is always better than a teacher, which is why he feels imperfection deep down in his soul. Just as a surgeon cannot dream of an ideal patient, since an ideal patient is, as we know, one who is terminally ill, and what surgeon is ready to admit his professional helplessness?

However, there are enough professions in the world whose representatives can dream of an ideal consumer for their talent.

I remember the cook from the Ashgabat “Brand Turkmen Hotel”, where I, a participant in the international book fair, had the opportunity to live for a whole week. I really liked the evening ilov, and I told the cook, who called himself Atamurad, that I would like my wife to recognize this taste, so would he tell me the recipe for its preparation.

But Atamurad shook his head:

This is Agurjali ash. To master all the secrets of its preparation, you need to be no closer than a fifth generation Turkmen. And to feel its real taste, you need to be born and grow up where the Sumbar flows into the Atrek.

Why there? I asked.

Because from there they bring me saffron and azhgon, which are added to the Agurjali ash. Because sheep graze there, the meat of which is used for Agurjali ash. Because I was born there. Every time I cook Agurjali ash, I remember my native places with tenderness and love, and this love and tenderness gives the dish a special flavor that can only be felt by those who, like me, were born and raised where Sumbar flows into the Atrek.

Atamurad dreamed of an ideal visitor to the Grand Turkmen Hotel restaurant, who could feel the taste of love and tenderness in his dishes, and I dream of my ideal reader.

Having written a few pages of a future book, I like to leave the apartment and in city parks and squares, on streets and avenues, in shops and coffee shops, on buses and subways, to watch people, trying to recognize by their faces the one for whom, first of all, this the book is being written. The one who can accurately determine which pages I struggled with the most, and in which places I paused while working to walk around the city.

The ideal reader recognizes only the original, and not the translation, which significantly narrows the space of my searches, and therefore increases the chances of finding it. On the other hand, this space today is already too small for an ideal reader to appear in it, and every year it narrows more and more.

Yes, I write in a language in which not too many people read poetry and prose.

I know what Atamurad would say to this: “The more often you see people with a hot dog in their hands, the more delicious I want to cook.”

I asked Atamurad, when we were sitting on a bench one day near the monument to the poet Karacaoglan, if he thought that he really didn’t have much of a chance of meeting in a restaurant someone who was born and raised where Sumbar flows into the Atrek , since the vast majority of guests of the Grand Turkmen Hotel are visitors from other countries. To which Atamurad replied:

The one who waits has four pairs of eyes, and he simultaneously looks into the four directions of the world. The one who stops waiting has no match. I rarely talk to restaurant patrons, so I can’t know for sure whether one of them was someone who was born and raised in the Atreka Valley. Perhaps he was there yesterday, but he was too hungry and in a bad mood. Hungry people, like those who sit down to dinner without the mood, cannot feel the real taste of food. Or maybe he is sitting in a restaurant now or will come tomorrow. Therefore, every time I prepare ash for the past, for the future and for today. Waiting helps you stay in shape. I'm afraid of losing my job not because I can't do anything else, but because then I'll stop waiting.

Atamurad paused, as if recalling one of the episodes of his life to the smallest detail, and then remembered how he met the outstanding, according to the narrator, Belarusian pianist Valentin, who never saw his fame on the big stage. He came to Ashgabat with his brother Andrei, who served as an officer here just before the collapse of the Soviet Union and whose daughter Marina remained here - she married a Turkmen. The apartments of Atamurad and Marina were separated by one wall, which let in sounds the way the foliage of trees lets in the sun's rays. Thanks to this, the piano lessons that seventy-year-old Vaziga gave her daughter on weekends (they said about her that she would put a penny in an empty wallet and take out a ruble from it) were given to his son for free.

In one old puppet comedy of the 18th century there was such a funny Epilogue with Moral:

“Whoever acts to please princes,

He prospers year after year.

Who bet on the people

It will wither away in exactly one year!

How to understand this song? Today we can be misled by the antithesis “Prince - vs - people”. You need to know and understand what exactly was meant by this opposition back then. We, with our Soviet “democratic” habit of flatly and positively perceiving the word “people” (and negatively the word “prince”!) and can understand everything “wrong”!

Of course, the “people” here strictly means “the mob unenlightened by upbringing, culture and education - a crowd with coarse taste and primitive needs.” What the poets of the 19th century in Russia called the “democratic crowd” and about whom Pushkin wrote: “Poet, do not value the people’s love!”

It’s not that Pushkin read Goethe’s Diaries. They just breathed the same air. What is meant by the word “prince”? The ideal Prince of the Renaissance thinkers? The ideal feudal lord, glorified by the era of romanticism, Walter Scott? Yes. A wise ruler, an enlightened monarch, a philanthropist... A person who has not only “taste”, but, more importantly, strength and power of character! That power that naturally “hands over” the reins of power to him and makes the burden of responsibility for other people not heavy.

There are always only a few “princes” (like these - only without the panache and lies of flatterers). “People” – millions. So they advise: Pushkin, Goethe, (and nameless authors of puppet comedy) to address their writings (and any creation of their own hands) to these very few. More precisely, it can be addressed to anyone... Even to virtually no one. At least to everyone. But it is inevitable to check the quality, secretly select it as a standard, and submit it to judgment by only one. Less often - two. Here, it is also necessary for mutual sympathy and community of interests to arise...

“Holy calculation” by the Artist

This is not done out of “school” snobbery and a tendency to sycophancy (“I’m only friends with the rich”).

This is done from an even simpler, but sacred calculation.

Look here. What is the difference between 2 people: one of whom can be called a “typical prince”, and the second - a “typical people”?

A typical prince does something not only for himself, but also for other people, for those who will be born a hundred years after his death.

For example, he plants an alley of linden trees. But only after 300 years will it be possible to fully enjoy the bizarre shadow of the beautiful trees, as the architect intended...

Such an alley of linden trees exists in France, I didn’t make it up. What do “the people” do? He cuts down a beautiful 30-year-old tree in his yard “because it produces small, tasteless, rare apples.” I would like to ask this person: “Does your diet with apples in particular and your nutrition in general completely depend on this tree?”..

At the same time, a typical “prince” points out of the window at a 300-year-old pear tree (which has not produced fruit for the last 250 years) and says: “My great-great-grandfather planted this tree on the day my great-grandmother was born.”

***
What does a “typical prince” do with books? He keeps them and donates them, trying to assemble a library with meaning and benefit.

What do “typical people” do with books? Right! He throws them into a landfill as soon as he moves into his grandfather's apartment and begins to renovate it.

So who should you write your writing for? Whose tastes and requests should I cater to? The simplest calculation suggests: for those who have a need to store and transmit further!

For those who, thus, know how to conquer Time itself!..

But what to do if there are no such people in your environment?

In fact, they exist, it’s just that fate hasn’t brought you together with them yet. But there is also a more pessimistic consideration. Indeed, there are eras that are poor in “princes.”

In fact, such eras happen more often and always last longer than the “blessed times” illuminated by the personality of some “prince” or a whole galaxy of “princes”.

So there is no need to be upset. Sometimes things get really bad: even an atheist has to flee from the “world” to a monastery, because only behind its thick walls can fragile things, fragile pages and fragile people be hidden from the wall of fire, “famine, cowardice and pestilence”...

Today we live in different times... Outwardly they are much less scary, but internally, maybe even more terrible.

They say you can jump out of boiling water. But slowly heating warm water relaxes the “victim”.

For such “warm” times, there is excellent advice once given by the composer Igra Stravinsky. He was asked: “Who do you write your music for?” He answered (to the journalists, but so that all his young colleagues could hear him over the journalist’s head): “ For yourself and for your hypothetical alter ego"(Second Self).

Now let's ask ourselves a practical question. What should any creative person do so as not to suddenly find himself in a complete vacuum, without a direct addressee for his crafts and thoughts?

The answer is obvious: any Artist (Creator) must first of all “draw a portrait” of his audience. Create your own imaginary:

listener

• teacher,

  customer,

  producer,

  interlocutor,

  Head.

The same one whom Maestro Stravinsky called his “alter ego”.

From what “clippings” should we put together this collage?..

ABOUT! This is not just a day or a year of work! It begins in childhood, in adolescence, when a child (young man) first feels that he will be what is called a “creative personality” and that he will most likely not be on the same path with the “people”. Will he find the “prince”? God knows. But he needs to find a listener-critic. The leader? Necessarily!

It was then that young creators first ask themselves the questions: “What would so-and-so say about my stories?”; “How would this artist rate my painting?”

These hypothetical arguments are the foundation, the basis of a healthy psychology of creativity.

In order not to “invent” or carry any “gag” (“what would so-and-so say?”), we read diaries, letters, reviews, criticism, biographies of great people who would believe in us and in whom we believe .

These are precisely those in whom we feel a “kindred soul” - an alter ego.

Now, subject to this study, our imaginary dialogues will not be “nonsense”, and we will guess quite correctly like one or another lucky person who lived during the time of the “princes” and wrote for them I would like to comment on our video, script, idea of ​​the film...

But what are we all about “creative people” and “creative people”! There is no translation in them. What we are missing are “princes”. Or maybe the prince is just you?

Thus, the concept of “text,” introduced by R. Barthes, shifts the emphasis in considering a work of art from the search for the personal meaning that the author put into it, to its super-personal content, which can even resist the “author’s meaning.” A text, as is known, is, first of all, a “materially fixed closed linguistic message” 24, which is therefore capable of existing completely independently of its author, and for this reason the text can be read in contexts that the author did not think about. Thus, the text is included in the big world of cultural life, in which it functions in accordance with the possibilities contained in it, the meanings that culture is able to discover in it, thanks to which it includes this text in the life of its meanings. The ability of a text to “respond” to the questions of a particular culture determines its ability to be included in the world of its meanings. This dialogue between text and culture takes place against the will of the author of this text; here it becomes possible for the text to live in several cultures, worlds and contexts of meaning at once, not intended by the creator of the text. This independent life of the text reveals the super-personal foundation of the consciousness of its author.

However, the content of a work of art still cannot be reduced to the laws of its impersonal functioning: this super-personal “dimension” of the existence of a literary work as a text is opposed by another “dimension”, another form of its life - as a work as a personal statement, the creation of a personal author. M. M. Girshman, analyzing different

ny aspects of the opposition between text and work, in particular, considering them in the light of the opposites of pluralism and monism, plurality and unity, which R. Barth insists on, says that “not only without denying plurality, but, on the contrary, taking it into account As a very essential characteristic of the text, the theory of the work as integrity correlates with it the idea of ​​the deep indivisibility of being - a single world living in these multitudes. The plurality of a literary text is, in a fundamentally different frame of reference, one life, united and in its depths indivisible, a single internally developing world and meaning. And the ontology of a work is not a ready-made, guaranteed, objective unity of everything and everyone, but an objectively presented and realized in the word direction towards the unification of everything that is actually shared, multiple and each time unique in its self-realization” 25.

M. M. Girshman considers the work both as an expression of the unity and integrity of the world, and as an expression of the individual transformation of the world in a unique, only “here and now only existing concrete person” 26 . A work of art is the world of culture in the individual consciousness of a person, it is a text of culture read by a person, the boundary between the text of culture and personality, the point of their meeting, which has become a personal statement in the language of culture, a personal reworking of a text of culture, or vice versa - a statement of culture through a person - the boundary of culture , identified in the event of a meeting with a person who allowed the cultural text to reveal some of its own orderliness. This becomes possible due to the fact that the work has its own structure, which does not coincide with the structure of the text, a form that organizes all the elements of the text, all its voices into a special unity. This structure, the principle of constructing artistic integrity, is an imprint-boundary of the author’s will, a personality that organizes, experiences, and comprehends this world in its own way. This is the form of a work of art that determines its existence, and its “constructive moment,” as M. M. Bakhtin shows, is the author-creator 27, its unity “is the unity of the active value position of the author-creator 28, meeting with the activity and “ self-legitimate" persistence of the text.

It is known that the presence of some ideal (in the sense of:

spiritual) content, objectified in form, introduces art into a number of sign systems. However, the peculiarity of art as a sign system is that the form here is by no means an intermediary between the content of art and the recipient. It is the content itself.

It is the artistic form that transforms the inherent ability of any person for figurative representations into a special one - intensified, enlarged, concentrated figurative being. Speaking about the image in the artistic context itself, one should proceed from the fact that “an artistic image is a specific relationship that has developed in a sensory-material and at the same time generalized emotional-cognitive spiritual form...” 29. But “a sensory-material form is, first of all, concreteness, manifested in an individual (individually unique) appearance. Cognition here does not constrain itself by the norms of logical-analytical obligatory nature; it adheres to these norms and departs from them, follows them and overcomes them. Since the process of cognition appears, as we have already agreed, in an “emotional-cognitive spiritual form,” the image “...uses all logical highways in approximately the same way as a person uses them in the city, that is, as auxiliary paths for his own purposes”: “ If necessary: ​​they are rebuilt and broken, introducing temporary disorganization; their own anarchists appear, dreaming of blowing them up completely; in a word, there is a living development, where the meaning is not united by a calculated law, but is concentrated in individuality, an independent person or their relationship” 30.

An artistic form is always concrete, sensual, individually unique, consists of images and, composed of them, carries a specific spiritual attitude. At the same time, it is systemic, however, not in the sense of static systematization, but as a dynamic (that is, moving) system of figurative components of greater or lesser complexity that impart certain boundaries to the text. The elements that make up an art form are called techniques. Being a spiritual expression and embodiment of reality, its spiritualized equivalent, the artistic form reveals and realizes its spiritual and meaningful capabilities through the media of its constituent images and techniques, each of which, however, represents “...not a material element... , and attitude" 31. In essence, an artistic

it is a reduced copy of an artistic form in general (as such): in both cases, the principle of a dynamically expressed relationship is constructively significant. But if an artistic form is the final result of the relationship between a person and reality, then an artistic technique is the path to the formation of a relationship between a person and reality, when the techniques are mutually coordinated, forming a system of internal boundaries of the text that give it a certainty of meaning.

M. M. Bakhtin wrote that “artistic form, correctly understood, does not formalize ready-made and found content, but for the first time allows it to be found and seen” 32. But this artistic form is revealed in the fullness of the found and perceived content as a result of the internally and externally coordinated action of artistic techniques. Thus, the artistic form, understood as systemsarelationships, reveals the fullness of the “meanings” contained in it. These individual “meanings,” subject to the structure-forming laws of artistic form, on the one hand, turn out to be associated with individual techniques and are embodied in them. On the other hand, interrelated and mutually organized, they go back to a single meaning, to that content, which is as much ideological-psychological (ideological) as it is artistic (artistic-psychological), “an artistic picture of the world” (V. Tyupa): artistic form is therefore at the same time a concept of reality.

Integrity is based on the life of imaginative consciousness, striving to be realized and become a complete phenomenon of art. Considering that a technique is, as already said, an image-relationship, one should constantly keep in mind the following: a separate image, even if it acts as a “small organism”, as a “microcosm”, is necessarily “...based on universal connection and dependence of phenomena" 33. As a result, each of the “elements” and “levels” “... passes into all the others, interacts, resonates together, responds to every voice, merges in unison with the others” 34. In a word, integrity is an integral part of the artistic form generated by imaginative consciousness. Therefore, the holistic phenomenon of art is not a fragment of existence, but its phenomenon, as Yu. V. Trifonov said 35. This phenomenon manifests itself both in a separate image and in their systemic interrelationship.

sti. Integrity, therefore, is as much the result of the movement as its starting point, that is, the process in its completeness and completeness. It is clear that the movement occurs not from fragmentation, fragmentation to integrity, but from integrity to integrity - similar to, say, the transition from an egg to a chick, and not from the individual components of the egg to the same chick. There is only a change of levels. The principle itself remains unchanged: “...The category of integrity refers not only to the whole aesthetic organism, but also to every significant part of it” 36.

One can, I think, argue that artistic integrity acts as a kind of spiritual, creatively active equivalent to the natural-biological unity that we observe in the existence of the organic world around us. The organics of being in its spiritually transformed form are revived in artistic integrity. This is, first of all, morally oriented artistic integrity, a sign of the presence of light. The point is that artistic integrity is first and foremost noted active spirituality - that is why artistic integrity carries within itself “...extremely ordered meaning” 37 (V.I. Tyupa). So, "extremely ordered meaning" lies in a “strongly organized form” 38 (M.K. Mamardashvili), and the life of this meaning and this form lies in integrity as the principle of the artistic existence of a “human phenomenon”. The source, the generating principle of artistic integrity is therefore the personality, because the spirit exists only as “a single active consciousness and self-awareness” and therefore “is necessary for single works of art contain a single spirit one individual" 39. M. M. Girshman, quoting these words of Hegel 40, emphasizes, again referring to the great philosopher: “It is the living person, the “speaking individual” that is the formative center of the work” 41: “... speech does not appear here... by itself himself, regardless of the artistic subject, but only himself living person, the speaking individual is the bearer of the sensory presence and the present reality of the poetic creation” 42. M. M. Girshman, the author of the main developments of the theory of the integrity of a work of art, in a number of works consistently defends the idea of ​​the personal nature of artistic integrity: “It is always personal integrity, which reveals its purpose in every moment.”

the presence of a creator in the creation, the presence of a subject creating a complete artistic world. Outside of the spiritual, personal exploration of the world, no artistic objectification is possible” 43 . When creating a work of art, there is “an interpenetrating reflection of man and the world in each other, which appears in aesthetic unity as personally mastered and humanly completed” 44 .

Thus, since a work of art is an integrity, it has a personal character, which means that the work, unlike the text, has its correlate in a very specific author, who appears as the form of this integrity, as the form of the work. The form reveals the personality, and the personality is an integral correlate of integrity - that which allows the text to be read as a work. This personality, whose existence is contained in the form of the work, in its internal organization and the conceptuality corresponding to this semantic organization, is defined by B. O. Corman using the concept of “conceptualized author.” The concept of a work as an integrity that has a personal meaning was correlated by the scientist with the concept of the reader, whose consciousness encounters this meaning is the “conceptualized reader.” This is the reader who sees the author behind the text - enters into dialogue with the author of the work as a person. This is the reader who is created by the form of integrity; in his consciousness, in his spiritual activity, the work is “assembled” as a system of a special type - integrity. But a literary text can be read precisely as a text, and in this case its reader should be understood differently - not “in Corman’s way,” but, so to speak, “in Bart’s way.” Thus, one and the same phenomenon of art appears simultaneously as a text and as a work, its author - as a cultural language and as a personality, its reader - as a reader of a cultural language, a reader of a text and as a conceptual reader. The concept of “ideal reader” could also be attached to the reader of the text, putting into the word “ideal” not only the idea of ​​a non-specific, non-biographical reader, not really, but ideally present in the text, but also as a reader capable of reading a work precisely as a text and it is precisely ideal, that is, completely, exhaustively, to read into it everything that is contained in the most super-personal language, in which

rom the author constructs his statement. Such a reader will see in a work not only his personal author, but a multitude of subjects, the consciousness of an entire era of culture to which a given author belongs, and, moreover, a large chorus of voices in the history of culture that created both a given era and a given work; The author of the work will thus be humanity with its conscious and unconscious aspirations, diverse forms of consciousness, ways of understanding life. This “ideal” reader enters the text, but not as a consciousness in which all elements, voices of the work are “gathered” into unity, but into an integral structure of a single meaning, but as a consciousness in which all these elements freely play with each other, forming the most diverse combinations and entering into ever new relationships and connections - replaying, reworking their meanings, discovering more and more new motivations, contexts and semantic moves that lead far beyond the boundaries of this phenomenon of art. This reader can also be qualified as “ideal” in the sense that he is included in the text as a consciousness that proceeds from the idea of ​​the content of absolutely all moments of the text and actualizes this entire semantic volume; it is not bound by a specific, fixed structure of an artistic form, but appears as precisely the universal possibility of updating the content of the text in all its conceivable dimensions, the potential infinity of its meanings, contained in the infinity of internal relations of its elements, inherent in every artistic text, not realized in a specific system of the work. the internal form of each word, the historical and actual content of every motive, plot device, intonation figure, one way or another, directly or indirectly, through many intermediaries connected with the world of all human culture. The ideal reader is a consciousness in which each meaning of the text is not only one of its many possible meanings, realizing in the game of internal relations in it, but also swept aside, denied its possibilities, which, however, exist in this game precisely as unrealized, maybe be missed. In this case, the ideal reader is the consciousness of the infinity of semantic movement, to which the consciousness of the conceptualized reader sets boundaries and gives personal certainty. The product is thus at the point

from the perspective of the conceptualized reader it turns out to be a “collected” and personally processed infinity - a personal statement in the language of infinity; infinity appears to a person in a kind of collapsed form, in the form of a boundary between what fits into human consciousness and what does not fit into it. We can now clarify the conclusion made at the beginning of this chapter: a work is the endless life of a text, which has taken the form of the personality creating the work; these are the boundaries of personal existence, allowing endless life to appear in certainty and concreteness, accessible to human consciousness. We should go even further and say more: a work is an integrity, the internal and external boundaries of which are determined by the choice made by the individual, as a result of which the formless chaos of endless life was overcome and transformed into a personal cosmos, where the endless chaos of meanings appears as infinite meaning. In this victory of personal integrity over the text, which, by the way, R. Barth not by chance characterized as “demonic texture,” one can discern the divine dignity of art, its religious meaning. But in this case, the essence of the work lies not in the fact that it is some kind of ready-made, static structure, but in that creative effort to overcome chaos, which constitutes its basis and nature.

It would be wrong, however, to mechanically contrast text and work: the author does not simply overcome the text, organizing it into an integrity determined by the nature of his personality. The very form of the work, which collects and personally closes the text, contains structures that are super-personal in relation to this activity - the author, and here, in this system of his activity, makes his personal statement in a language, the subject of which is the collective consciousness, producing numerous forms of literary creativity, ways of organizing a work, without which the author cannot be understood at all. In the era of traditionalism, the artist follows them as norms that allow him to speak “properly” and tell the truth. The difficulty of the artist of the era of reflective traditionalism lies in how to ensure that his understanding of the life problem, the task that he sets for himself in the work, would be “correct”, that is, find organic embodiment in the “true” forms of expression providing

movement towards higher, universally significant values. In the post-traditionalist era of individual creativity, the author does not follow any canons in his work, relying entirely on himself, however, the forms that he seemingly creates completely “arbitrarily” carry within them a universally significant experience contained in traditional and “eternal” literary motifs and their old contexts, in the ways of constructing an image, the unfolding of the plot in space and time, in genre forms and their fragments - compositional, rhythmic, stylistic, in speech style, etc. He does not reproduce ready-made, traditional models, but the very forms of his activity, thinking are conductors of super-personal experience in a work. The author of a literary work is a “literary personality.”