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Page 39
tures are dominated by the opposition of presence and absence, necessity or accidentality of properties. Ideological structure oppositions can be translated into truth assignments (True vs. False )and vice versa, as logicians hardly suspect. There are ideological structures also in logical fabulae.
0.9. Conclusion for an Introduction
At the end of this survey, and taking into account the results of the following essays, I am now able to restate my preliminary statements.
The aesthetic dialectics between openness and closedness of texts depends on the basic structure of the process of text interpretation in general.
This structure is made possible by the nature of the system of codes and subcodes constituting the world of the encyclopedia: contradictory in its very format (see Theory, 2.13) and ruled by a constitutive mechanism of unlimited semiosis, the semantic space can be reduced only through the cooperative activity performed by the reader in actualizing a given text.
The reader finds his freedom (i) in deciding how to activate one or another of the textual levels and (ii) in choosing which codes to apply.
At this point one can wonder at which specific level certain aesthetic texts, which give the impression of being particularly open, call for the decisive collaboration on the part of the reader. Undoubtedly, texts (as well as literary genres) can be characterized according to their privileged level of openness. Can one say that in poetry the most happens at the level of semantic disclosures and at that of deepest intensional structures? That in Kafka's novels the place of the most blatantly elicited choices is the one of the narrative structures? That a play of Pirandello works mainly at the level of world structures focusing on propositional attitudes?
My final approach to Un drame bien parisien (a 'minor' work of literature, indeed, if such a high-brow distinction still makes sense) should demonstrate that, in a 'well-made' literary work (as well as in every work of art), there is no openness at a given level which is not sustained and improved by analogous operations at all other levels.
This does not happen with closed works. I can read James Bond's story at the level of the fabula (and maybe of ideological structures) as a manifestation of a transversal désir, every surface image being the figure of a more profound and irreducible pulsion (nothing is impossible for a brilliantly perverse mind), but the text linear manifestation and the discursive structures remain what they are: a museum of déjà vu, a recital of overcoded literary commonplaces.

 
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