Initiating a Fact: the Play of the Imagination as a Way of Being a Word

Abstract

The article attempts to question and dispute the definition of the “artistic-documentary literature”. The difference between the fact as an inert historical unit and the fact in correlation-contact figurative entities has been revealed applying phenomenological and dialectical research methods and using method of analogy. The key findings of the study argue that a fact in the documentary text is unambiguous, the scope of information it carries is equal to its analog in an empirically representative space; it is one-dimensional, historically and spatially localized, complete and finite in terms of message. The artistic text is a hyper complex combination of various types of contacts, is a synthesis of the in-depth abstracted artistic thought-forms and absolutely concrete meaning of visible things. This is a magical ritual procedure.

The article highlights two points: analysis and synthesis. The analysis is aimed at determination of the way the fact functions in the text. The task of synthesis is to trace/identify the scheme that corresponds to the content of the links between the fact and other characteristics of the work. The emphasis is laid on the mechanism of transforming the informative-semantic into the informative-aesthetic. The artistic text is considered as a multichannel system, where the fact is subjected to processing by compression (quintessential), quantization (energy impact), coding (image formation) and correlation.

The novel "Leaves of the Earth" by V. Drozd is used to illustrate the theoretical assumptions. The study shows the movement of a historical fact in the direction of expanding its parameters due to the projection of it on the symbolic-mythological, theosophical, psychological plane and formation of new meanings. The key findings of the research prove that the definition of literary-documentary literature is unmotivated and contains features of aporia.