The Visible and the Invisible in the Art of Word

The opposition between the motoric and visual method of reading a text releases a tension between the visible and the invisible, which is active in both original projects of literary structures and individual courses of reading. Visualisation, that is, transformation of the invisible into the visible, is opposed by de-visualisation (transformation of the visible into the invisible) and re-visualisation which consists in regaining an image that has been lost beforehand. These processes are graduable, non-obligatory, imprecise, important for the work's aesthetic facet, neutral in interpretation, the latter being oriented, as a rule, toward combinations of meanings. In lexical resources of language, the visualisation experience becomes the source for distinction of a group of 'visualisms' - units being independent of the norms of grammar. This alters the classical Jakobsonian model of act of communication, since a text imbued with 'visualisms' refers the reader simultaneously to the code and the context, rendering it unfeasible to separate the metalinguistic and the cognitive function.