RECEPTION OF TEXTUAL GAPS IN A LITERARY WORK

The article analyzes the phenomenon of textual gaps in a literary work within the context of the theory of non-finito as a specific artistic system.It has been established that the characteristic features of unfinished texts include ellipsis, indeterminacy, fragmentation, openness, and polyreceptivity, which activate the reader's creative imagination in the process of perception.The interrelation between the intentionality of a literary work and its gappiness is substantiated, which necessitates interpretative supplementation by the recipient.The main approaches to the understanding of "empty spaces" in a literary text are examined, particularly from the perspective of phenomenological aesthetics of the Polish literary theorist R. Ingarden, who considers the literary work as an intentional, polysemantic, derivative, heterogeneous, and non-factual structure.Attention is focused on how meaning is concretized during the reading -a process in which the recipient fills in the gaps, activating their own intersubjective semantic codes, imagination, and cultural memory.It is explained that due to the temporal perspective, no part of the text can be fully and definitively comprehended during the reading, since each phase of the work is interpreted only partially and is subject to change depending on the reception context.The specific nature of the reader's perception of yet unread parts of the text is outlined -these are projected in the mind as schematic outlines or possible options for the development of events.It is noted that literary gappiness not only prompts interpretative activity in the reader but also serves as a means of artistic influence, creating aesthetic effects such as anticipation, tension, surprise, and others.It is emphasized that each new concretization of the text is partial, subjective, and open to new interpretations, since it is based on the dynamic correlation of the reader's past, present, and future experiences.Gaps in the text of a literary work are regarded as a condition of co-creativity, whereby the act of reading turns into a dialogue between the author and the recipient, through which the text acquires new meanings and significance.